lightningbowlt Steem Profile

@lightningbowlt

steemit.com/@lightningbowlt

VOTING POWER100.00%

DOWNVOTE POWER100.00%

RESOURCE CREDITS100.00%

REPUTATION PROGRESS29.83%

Net Worth

0.000USD

STEEM

0.001STEEM

SBD

0.000SBD

Effective Power

1.201SP

├── Own SP

0.000SP

└── Incoming DelegationsDeleg

+1.201SP

Detailed Balance

STEEM
balance	0.001STEEM	STEEM
market_balance	0.000STEEM	STEEM
savings_balance	0.000STEEM	STEEM
reward_steem_balance	0.000STEEM	STEEM
STEEM POWER
Own SP	0.000SP	SP
Delegated Out	0.000SP	SP
Delegation In	1.201SP	SP
Effective Power	1.201SP	SP
Reward SP (pending)	0.000SP	SP
SBD
sbd_balance	0.000SBD	SBD
sbd_conversions	0.000SBD	SBD
sbd_market_balance	0.000SBD	SBD
savings_sbd_balance	0.000SBD	SBD
reward_sbd_balance	0.000SBD	SBD

{
  "balance": "0.001 STEEM",
  "savings_balance": "0.000 STEEM",
  "reward_steem_balance": "0.000 STEEM",
  "vesting_shares": "0.000000 VESTS",
  "delegated_vesting_shares": "0.000000 VESTS",
  "received_vesting_shares": "1953.311140 VESTS",
  "sbd_balance": "0.000 SBD",
  "savings_sbd_balance": "0.000 SBD",
  "reward_sbd_balance": "0.000 SBD",
  "conversions": []
}

Account Info

name	lightningbowlt
id	1226505
rank	1,560,525
reputation	-199611317501
created	2019-02-24T11:08:18
recovery_account	steem
proxy	None
post_count	12
comment_count	0
lifetime_vote_count	0
witnesses_voted_for	0
last_post	2019-03-14T21:48:24
last_root_post	2019-03-14T21:48:24
last_vote_time	2019-02-26T23:11:57
proxied_vsf_votes	0, 0, 0, 0
can_vote	1
voting_power	0
delayed_votes	0
balance	0.001 STEEM
savings_balance	0.000 STEEM
sbd_balance	0.000 SBD
savings_sbd_balance	0.000 SBD
vesting_shares	0.000000 VESTS
delegated_vesting_shares	0.000000 VESTS
received_vesting_shares	1953.311140 VESTS
reward_vesting_balance	0.000000 VESTS
vesting_balance	0.000 STEEM
vesting_withdraw_rate	0.000000 VESTS
next_vesting_withdrawal	1969-12-31T23:59:59
withdrawn	0
to_withdraw	0
withdraw_routes	0
savings_withdraw_requests	0
last_account_recovery	1970-01-01T00:00:00
reset_account	null
last_owner_update	1970-01-01T00:00:00
last_account_update	2019-02-24T12:43:06
mined	No
sbd_seconds	0
sbd_last_interest_payment	1970-01-01T00:00:00
savings_sbd_last_interest_payment	1970-01-01T00:00:00

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  "memo_key": "STM8iLhXSr2pFFSmSgYxCaThuA6xiSKhPGGeLXNEUBkDqsGMUtbj4",
  "json_metadata": "{\"profile\":{\"cover_image\":\"https://cdn.steemitimages.com/DQmTC6wrdPVL3UvaG7P4fzHuuJibmV6hsDHBJ3LKNAahN3L/Aladinsane%20bolt%20crop-1-1-1-1-1%20crop%208.jpg\",\"profile_image\":\"http://lightningbowlt.com/wp-content/uploads/2019/02/Aladinsane-bolt-crop-1-1-1-1-1-crop-8-1.jpg\"}}",
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  "last_account_update": "2019-02-24T12:43:06",
  "created": "2019-02-24T11:08:18",
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  "recovery_account": "steem",
  "last_account_recovery": "1970-01-01T00:00:00",
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    "last_update_time": 1588939509
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  "balance": "0.001 STEEM",
  "savings_balance": "0.000 STEEM",
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  "sbd_seconds": "0",
  "sbd_seconds_last_update": "1970-01-01T00:00:00",
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  "delegated_vesting_shares": "0.000000 VESTS",
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  "vesting_balance": "0.000 STEEM",
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  "guest_bloggers": [],
  "rank": 1560525
}

Withdraw Routes

Incoming	Outgoing
Empty	Empty

{
  "incoming": [],
  "outgoing": []
}

From Date

To Date

steemdelegated 1.201 SP to @lightningbowlt

2020/05/08 12:05:09 UTC

43,196,348|ddef0f1

delegator	steem
delegatee	lightningbowlt
vesting shares	1953.311140 VESTS
Transaction Info	Block #43196348/Trx ddef0f1948d32ba83b4dd6e752bd8e8fe44f8c05

View Raw JSON Data

{
  "trx_id": "ddef0f1948d32ba83b4dd6e752bd8e8fe44f8c05",
  "block": 43196348,
  "trx_in_block": 20,
  "op_in_trx": 0,
  "virtual_op": 0,
  "timestamp": "2020-05-08T12:05:09",
  "op": [
    "delegate_vesting_shares",
    {
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      "vesting_shares": "1953.311140 VESTS"
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steemitboardreplied to @lightningbowlt / steemitboard-notify-lightningbowlt-20200224t113206000z

2020/02/24 11:32:06 UTC

41,098,141|5b27332

parent author	lightningbowlt
parent permlink	david-bowie-about-david-bowie-1973
author	steemitboard
permlink	steemitboard-notify-lightningbowlt-20200224t113206000z
title
body	Congratulations @lightningbowlt! You received a personal award! <table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@lightningbowlt/birthday1.png</td><td>Happy Birthday! - You are on the Steem blockchain for 1 year!</td></tr></table> <sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@lightningbowlt) and compare to others on the [Steem Ranking](https://steemitboard.com/ranking/index.php?name=lightningbowlt)_</sub> ###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!
json metadata	{"image":["https://steemitboard.com/img/notify.png"]}
Transaction Info	Block #41098141/Trx 5b273327c1f5d5eabf7f53fbc4255d58315ff078

View Raw JSON Data

{
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  "virtual_op": 0,
  "timestamp": "2020-02-24T11:32:06",
  "op": [
    "comment",
    {
      "parent_author": "lightningbowlt",
      "parent_permlink": "david-bowie-about-david-bowie-1973",
      "author": "steemitboard",
      "permlink": "steemitboard-notify-lightningbowlt-20200224t113206000z",
      "title": "",
      "body": "Congratulations @lightningbowlt! You received a personal award!\n\n<table><tr><td>https://steemitimages.com/70x70/http://steemitboard.com/@lightningbowlt/birthday1.png</td><td>Happy Birthday! - You are on the Steem blockchain for 1 year!</td></tr></table>\n\n<sub>_You can view [your badges on your Steem Board](https://steemitboard.com/@lightningbowlt) and compare to others on the [Steem Ranking](https://steemitboard.com/ranking/index.php?name=lightningbowlt)_</sub>\n\n\n###### [Vote for @Steemitboard as a witness](https://v2.steemconnect.com/sign/account-witness-vote?witness=steemitboard&approve=1) to get one more award and increased upvotes!",
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steemdelegated 6.121 SP to @lightningbowlt

2019/06/13 22:15:12 UTC

33,775,009|cd8f188

delegator	steem
delegatee	lightningbowlt
vesting shares	9955.848089 VESTS
Transaction Info	Block #33775009/Trx cd8f188223af73132aef557ab12dbbc507e9c51f

View Raw JSON Data

{
  "trx_id": "cd8f188223af73132aef557ab12dbbc507e9c51f",
  "block": 33775009,
  "trx_in_block": 15,
  "op_in_trx": 0,
  "virtual_op": 0,
  "timestamp": "2019-06-13T22:15:12",
  "op": [
    "delegate_vesting_shares",
    {
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      "delegatee": "lightningbowlt",
      "vesting_shares": "9955.848089 VESTS"
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}

steemcleanersflagged (-20.00%) @lightningbowlt / woody-woodmansey-spider-from-mars

2019/03/16 04:28:33 UTC

31,193,901|ddd040a

voter	steemcleaners
author	lightningbowlt
permlink	woody-woodmansey-spider-from-mars
weight	-2000 (-20.00%)
Transaction Info	Block #31193901/Trx ddd040a11048a0140f6d6ca1f6a134d15d837c27

View Raw JSON Data

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  "timestamp": "2019-03-16T04:28:33",
  "op": [
    "vote",
    {
      "voter": "steemcleaners",
      "author": "lightningbowlt",
      "permlink": "woody-woodmansey-spider-from-mars",
      "weight": -2000
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steemcleanersreplied to @lightningbowlt / re-lightningbowlt-woody-woodmansey-spider-from-mars-20190316t042824408z

2019/03/16 04:28:24 UTC

31,193,898|adc69df

parent author	lightningbowlt
parent permlink	woody-woodmansey-spider-from-mars
author	steemcleaners
permlink	re-lightningbowlt-woody-woodmansey-spider-from-mars-20190316t042824408z
title
body	Added to @spaminator for spam.
json metadata	{"tags":["davidbowie"],"users":["spaminator"],"app":"steemit/0.1"}
Transaction Info	Block #31193898/Trx adc69df9864b97e8a726aa47784df15e1f08572a

View Raw JSON Data

{
  "trx_id": "adc69df9864b97e8a726aa47784df15e1f08572a",
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  "op_in_trx": 0,
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  "timestamp": "2019-03-16T04:28:24",
  "op": [
    "comment",
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      "parent_permlink": "woody-woodmansey-spider-from-mars",
      "author": "steemcleaners",
      "permlink": "re-lightningbowlt-woody-woodmansey-spider-from-mars-20190316t042824408z",
      "title": "",
      "body": "Added to @spaminator for spam.",
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lightningbowltpublished a new post: david-bowie-about-david-bowie-1973

2019/03/14 21:48:24 UTC

31,157,169|6fe9168

parent author
parent permlink	davidbowie
author	lightningbowlt
permlink	david-bowie-about-david-bowie-1973
title	David Bowie about David Bowie 1973
body	<html> <p><img src="http://lightningbowlt.com/wp-content/uploads/2019/03/Bowie-73.jpg" width="616" height="720"/></p> <p><em>What did David Bowie think about David Bowie?</em> </p> <p>Well, alright; I find that I’m a person who can take on the guises of different people that I meet. I can switch accents in seconds of meeting somebody and I can adopt their accent. I’ve always found that I collect. I’m a collector and I’ve always just seemed to collect personalities and ideas. I have a hotchpotch philosophy which really is very minimal, very limited- </p> <p><em>Do you believe in God?</em> </p> <p>I believe in an energy form. I’m not, I wouldn’t put, I wouldn’t like to put a name to it. </p> <p><em>Do you indulge in any form of worship?</em> </p> <p>Um, I, in life. I love life very much, indeed. </p> <p><em>You split people down the middle, don’t you, a lot?</em> <em>That is to say that people are hostile to you or they’re indif- or they’re totally indifferent-</em> </p> <p>Oh, absolutely, yeah</p> <p><em>What kind of, what kind of reaction do you get from the people who are violently in favor of you? I mean do you get fan mail?</em> </p> <p>Yes, a lot! </p> <p><em>What could- is it scabrous or dangerous or interesting or exciting?</em> </p> <p>Very sexy! </p> <p><em>In what way?</em> </p> <p>Um, well, I seem to draw a lot of fantasies out of people. A lot of fan mail I get. A lot of it is awfully nice. I mean, they say, um, how’s your baby and how’s your wife and what’s your mum’s name and things like that. And a lot- some of them are worth framing. </p> <p><em>Can you tell us about one or two of the framed ones?</em> </p> <p>No. I couldn’t really, no. They really are quite heavy heavy-duty letters. They are- </p> <p><em>Heavy Dewey?</em> </p> <p>Heavy duty . oh sorry. Duty. I drop me t’s, sometimes. </p> <p><br></p> <p>As found on <a href="https://www.youtube.com/watch?v=_ZtHxP4EMV0">Youtube</a></p> </html>
json metadata	{"tags":["davidbowie","ziggystardust","music","rockmusic","bowie"],"image":["http://lightningbowlt.com/wp-content/uploads/2019/03/Bowie-73.jpg"],"links":["https://www.youtube.com/watch?v=_ZtHxP4EMV0"],"app":"steemit/0.1","format":"html"}
Transaction Info	Block #31157169/Trx 6fe9168ca8d8e0dc1550e68944d25d358f3fde56

View Raw JSON Data

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  "timestamp": "2019-03-14T21:48:24",
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      "parent_permlink": "davidbowie",
      "author": "lightningbowlt",
      "permlink": "david-bowie-about-david-bowie-1973",
      "title": "David Bowie about David Bowie 1973",
      "body": "<html>\n<p><img src=\"http://lightningbowlt.com/wp-content/uploads/2019/03/Bowie-73.jpg\" width=\"616\" height=\"720\"/></p>\n<p><em>What did David Bowie think about David Bowie?</em>&nbsp;</p>\n<p>Well, alright; I find that I’m a person who can take on the guises of different people that I meet. I can switch accents in seconds of meeting somebody and I can adopt their accent. I’ve always found that I collect. I’m a collector and I’ve always just seemed to collect personalities and ideas. I have a hotchpotch philosophy which really is very minimal, very limited-&nbsp;</p>\n<p><em>Do you believe in God?</em>&nbsp;</p>\n<p>I believe in an energy form. I’m not, I wouldn’t put, I wouldn’t like to put a name to it.&nbsp;</p>\n<p><em>Do you indulge in any form of worship?</em>&nbsp;</p>\n<p>Um, I, in life. I love life very much, indeed.&nbsp;</p>\n<p><em>You split people down the middle, don’t you, a lot?</em> <em>That is to say that people are hostile to you or they’re indif- or they’re totally indifferent-</em>&nbsp;</p>\n<p>Oh, absolutely, yeah</p>\n<p><em>What kind of, what kind of reaction do you get from the people who are violently in favor of you? I mean do you get fan mail?</em>&nbsp;</p>\n<p>Yes, a lot!&nbsp;</p>\n<p><em>What could- is it scabrous or dangerous or interesting or exciting?</em>&nbsp;</p>\n<p>Very sexy!&nbsp;</p>\n<p><em>In what way?</em>&nbsp;</p>\n<p>Um, well, I seem to draw a lot of fantasies out of people. A lot of fan mail I get. A lot of it is awfully nice. I mean, they say, um, how’s your baby and how’s your wife and what’s your mum’s name and things like that. And a lot- some of them are worth framing.&nbsp;</p>\n<p><em>Can you tell us about one or two of the framed ones?</em>&nbsp;</p>\n<p>No. I couldn’t really, no. They really are quite heavy heavy-duty letters. They are-&nbsp;</p>\n<p><em>Heavy Dewey?</em>&nbsp;</p>\n<p>Heavy duty . oh sorry. Duty. I drop me t’s, sometimes.&nbsp;</p>\n<p><br></p>\n<p>As found on <a href=\"https://www.youtube.com/watch?v=_ZtHxP4EMV0\">Youtube</a></p>\n</html>",
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maggy7419upvoted (100.00%) @lightningbowlt / woody-woodmansey-spider-from-mars

2019/03/14 21:38:42 UTC

31,156,975|63c0fd5

voter	maggy7419
author	lightningbowlt
permlink	woody-woodmansey-spider-from-mars
weight	10000 (100.00%)
Transaction Info	Block #31156975/Trx 63c0fd5cddff7787fc346b8ad81358a0388c88a5

View Raw JSON Data

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  "timestamp": "2019-03-14T21:38:42",
  "op": [
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      "author": "lightningbowlt",
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lightningbowltpublished a new post: woody-woodmansey-spider-from-mars

2019/03/14 21:37:27 UTC

31,156,950|124f664

parent author
parent permlink	davidbowie
author	lightningbowlt
permlink	woody-woodmansey-spider-from-mars
title	Woody Woodmansey - Spider From Mars
body	<html> <p><img src="http://lightningbowlt.com/wp-content/uploads/2019/03/Woody-1.jpg" width="308" height="364"/></p> <p><strong>From an interview with Woody Woodmansey, who was the drummer in the David Bowie’s Band, The Spiders From Mars, during the Ziggy period.</strong> </p> <p><em>So, your days with David, I suppose, the connection was Mick Ronson? You were in that band in Hull, was it?</em></p> <p> Yeah, a band called The Rats in Hull. Doing kind of progressive rock and blues stuff playing the clubs up north. We played the cavern and places like that and then Mick got the job with David. <em> </em></p> <p><em>How did that, how did David know about Mick? </em>  </p> <p>The drummer we  had replaced in The Rats was kind of the first one that left Hull to go down to London to make it. You know, it was like you, the consideration was you couldn't really make it from Hull, you know. You could be a fisherman but not a rock star, you know.  </p> <p>And then he (Mick Ronson) did a few gigs with David and this drummer and then, couple of months later, I got a call saying, from David, and he just said Mick says you're really good and you'd fit in with us. I've got this house, you don't have to worry about rent and food and we're gonna do an album. Do you fancy it? And I just had a really good job offered, in a factory, so I said, yeah, kind of sounds really good. I mean, he sounded really, you know, nice guy. Didn't really know much about him, musically. I thought he was a folk guitarist, basically. So, I was thinking, you know, I'm a loud drummer, how is that gonna fit? But I'll check it out.  </p> <p>So, just went down and met him, spent a few hours listening to his old stuff and then telling me what he was looking at doing, you know. And I had this this list of things; can he sing? Because I hadn't really- I'd heard Space Oddity, but he, I'm really impinged because it was kind of light, you know, when you're listening to Led Zeppelin you don't really notice Space Oddity. <em> </em></p> <p><em>Where was this house, David's house?</em>  </p> <p>It was in Beckenham, in Kent. A big kind of gothic, huge house, actually, and we had the middle section. So, there was Tony Visconti, Mick, David, Angela and a roadie that-  I still don't know where he slept. I think he, maybe, slept under the stairs. He was an Australian. Not that Australians should sleep under the stairs, but, you know. <em> </em></p> <p><em>So, which was that album that you first worked on?</em>  </p> <p>The first one was The Man Who Sold the World. We did a few kind of demo tracks of it. And then we- we- there was a wine cellar under the house, so, we kind of soundproofed it and it was just so loud in there. It was only, I don't know, sort of 8 foot long and, yeah, it was straight into doing the album.  </p> <p>We just set up live in the studio, in Advision Studios in London, and it was exciting for us because Mick and I had never done an album. I didn't really know what I sounded like as a drummer. I've done a couple of demos up in Hull, a demo studio. So, to hear myself, you know, that's what it sounds like, it was like, whoa, you know. <em> </em></p> <p><em>You were pleased?</em>  </p> <p>Yeah, was I mean there was a few bits that went I'm never playing that again. When it came back through huge speakers he went "that doesn't work". You know.  So, it was good. <em>  </em></p> <p><em>So,  Mick and David were very instrumental in that very successful album Transformer by Lou Reed;</em>  Yeah <em> Were you involved with that, did you meet Lou?</em>  </p> <p>Yeah, we- first time I met Lou we played, we backed him at the Queen Elizabeth Hall at a Bowie gig. He came on and did three numbers; Waiting for the Man and White Light, White Heat and something else and afterwards he said "that's the best I've sounded. You know you guys are really tight and heavy and then he was going to be doing Transformer. So, he said would you, would the spiders be my band? And it was all okayed. And then it got close to the day and somebody looked at it and went, hang on, it would be Lou Reed and the Spiders from Mars. That's- that's a bit off, do you know what I mean? So it got, that got dumped basically as an idea.  </p> <p>But Mick had a reel-to-reel at the end of our bed, we both slept in the same room. so at night he'd come from the sessions and say "do you want to hear what we've done today"? So every night I heard all the tracks being built up and he said I'm gonna do this on that. And it was really good to watch the whole album, you know, come together.  Yeah, it was amazing. <em> </em></p> <p><em>So, um, that amazing appearance on Top of the Pops in 72; wasn't when David did star man, a lot of people watching it, it was like in America when the Beatles went on Ed Sullivan, but much more profound because there was David looking amazing! He's got his arm round Mick Ronson; you imagine all the parents absolutely outraged. So, were you doin Top of the Pops that night with him?</em>  </p> <p>Yeah, yeah, yeah. That was, I think we had- "Status Quo" were lined up in the corridor to go into the studio because you all had a separate stage and they were all in denim and we were all in our kind of glam flash gear and it was really, it was really quiet and Francis Rossi just went "you guys make us feel so old" and we-  everybody just cracks out laughing. It was just, it was a weird moment because we looked like we looked and they was still in the denim and all that.  </p> <p>It was that period, you know, but you know, you know when you, when you did that show, you didn't really think about what effect it was having. Do you know what I mean? It was only later on that we realized, because we were, that night we were on our way up to a gig in Scotland, so, we didn't even see it, you know. It was only when you saw the reports of the effect it had, and then to think that that track nearly wasn't on the album. Ziggy, you know? Because we'd finished Ziggy and the record company said no, we're not releasing it. And then we went why and  they said because you haven't got a single. So, David just went over the weekend and wrote it. Just banged it out, you know. <em> </em></p> <p><em>He could do that?</em>  </p> <p>Yeah, I mean, I think he could always do that when he felt like it. If he felt it fitted and he wanted to do that, he would just knock one out. You know, like Rebel, Rebel. Heroes. There was always one that he'd, no matter what the genre was, he seemed to have that ability to just write the hit from that album. You know. </p> <p><em> How would you describe David's sort of characteristic, I mean, was he very courteous? Could he be a bit of a difficult guy or- ?</em>  </p> <p>All of the above, really. You know, if it wasn't going well you'd have a pretty dark session. And if it, kind of, there was too many obstacles or so, you know, you'd have a, you have, you'd have a guy handling the tape machine in the studio and his job was doing that and I remember once we were trying to figure out what do we do on the chorus, which is the best way to approach it, and the tape operator went "well I think" and he lasted about six minutes.  Then we were back to normal, got a replacement, and it was like, you didn't go there. Do you know what I mean? He did-, you didn't, it wasn't allowed for anybody to throw in comments or anything like that. <em> </em></p> <p><em>What about that infamous night at Hammersmith Odeon and you're sitting behind the drum kit and then suddenly David makes this announcement which people thought was going to be the end of him ever doing any more live shows; did you think that when you heard it?</em>  </p> <p>Yeah, I did. I actually did. I thought, well, maybe he's had enough. I mean, you know we'd done about 187 gigs with only a few days off here and there and it was ti- was tiring. It was getting to everybody. We still managed to be up for the show but after that you'd be collapsed, you know, so it was- I noticed it was getting to him, especially the Ziggy character that he had to put on every night. You know, Ziggy became, he became Ziggy 24/7.  Where, as in the early days, he'd come off stage and he was David Bowie and you'd go for a drink, party, whatever, and have a good laugh, you know. Now it was Ziggy, you know. And, you know, Ziggy didn't carry money, so you had to pay for the taxies and whatever, you know.  So, it became quite strange so when he announced it I thought, okay, maybe that's it. He's just decided, that's it, on a spur-of-the-moment. The next thought was, well, he's good at publicity stunts, so, maybe it's just a big withdrawal from the whole thing, so that people go no no No! You know? So, that went through my mind. And I didn't know for certain, probably, until about four or five days later, a hundred percent that it was the Ziggy thing he was finishing with, you know.  He had talked about doing a funk thing, a soul thing on the American tour with me and he said I see you guys dressed in black, in the shadows, and not really being seen. And that didn't go down too well. He had dragged us out of the shadows and the progressive rock kind of gear and dressed us up and put the spotlight on us. Now, you want us to go back in the shadows? I don't think that's gonna happen, really.</p> <p>As found on <a href="https://www.youtube.com/watch?v=4_giMXsHnCw">Youtube</a></p> </html>
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      "body": "<html>\n<p><img src=\"http://lightningbowlt.com/wp-content/uploads/2019/03/Woody-1.jpg\" width=\"308\" height=\"364\"/></p>\n<p><strong>From an interview with Woody Woodmansey, who was the drummer in the David Bowie’s Band, The Spiders From Mars, during the Ziggy period.</strong>&nbsp;</p>\n<p><em>So, your days with David, I suppose, the connection was Mick Ronson? You were in that band in Hull, was it?</em></p>\n<p>&nbsp;Yeah, a band called The Rats in Hull. Doing kind of progressive rock and blues stuff playing the clubs up north. We played the cavern and places like that and then Mick got the job with David. <em>&nbsp;</em></p>\n<p><em>How did that, how did David know about Mick? </em>&nbsp;&nbsp;</p>\n<p>The drummer we &nbsp;had replaced in The Rats was kind of the first one that left Hull to go down to London to make it. You know, it was like you, the consideration was you couldn't really make it from Hull, you know. You could be a fisherman but not a rock star, you know. &nbsp;</p>\n<p>And then he (Mick Ronson) did a few gigs with David and this drummer and then, couple of months later, I got a call saying, from David, and he just said Mick says you're really good and you'd fit in with us. I've got this house, you don't have to worry about rent and food and we're gonna do an album. Do you fancy it? And I just had a really good job offered, in a factory, so I said, yeah, kind of sounds really good. I mean, he sounded really, you know, nice guy. Didn't really know much about him, musically. I thought he was a folk guitarist, basically. So, I was thinking, you know, I'm a loud drummer, how is that gonna fit? But I'll check it out. &nbsp;</p>\n<p>So, just went down and met him, spent a few hours listening to his old stuff and then telling me what he was looking at doing, you know. And I had this this list of things; can he sing? Because I hadn't really- I'd heard Space Oddity, but he, I'm really impinged because it was kind of light, you know, when you're listening to Led Zeppelin you don't really notice Space Oddity. <em>&nbsp;</em></p>\n<p><em>Where was this house, David's house?</em> &nbsp;</p>\n<p>It was in Beckenham, in Kent. A big kind of gothic, huge house, actually, and we had the middle section. So, there was Tony Visconti, Mick, David, Angela and a roadie that- &nbsp;I still don't know where he slept. I think he, maybe, slept under the stairs. He was an Australian. Not that Australians should sleep under the stairs, but, you know. <em>&nbsp;</em></p>\n<p><em>So, which was that album that you first worked on?</em> &nbsp;</p>\n<p>The first one was The Man Who Sold the World. We did a few kind of demo tracks of it. And then we- we- there was a wine cellar under the house, so, we kind of soundproofed it and it was just so loud in there. It was only, I don't know, sort of 8 foot long and, yeah, it was straight into doing the album. &nbsp;</p>\n<p>We just set up live in the studio, in Advision Studios in London, and it was exciting for us because Mick and I had never done an album. I didn't really know what I sounded like as a drummer. I've done a couple of demos up in Hull, a demo studio. So, to hear myself, you know, that's what it sounds like, it was like, whoa, you know. <em>&nbsp;</em></p>\n<p><em>You were pleased?</em> &nbsp;</p>\n<p>Yeah, was I mean there was a few bits that went I'm never playing that again. When it came back through huge speakers he went \"that doesn't work\". You know. &nbsp;So, it was good. <em>&nbsp;&nbsp;</em></p>\n<p><em>So, &nbsp;Mick and David were very instrumental in that very successful album Transformer by Lou Reed;</em> &nbsp;Yeah <em>&nbsp;Were you involved with that, did you meet Lou?</em> &nbsp;</p>\n<p>Yeah, we- first time I met Lou we played, we backed him at the Queen Elizabeth Hall at a Bowie gig. He came on and did three numbers; Waiting for the Man and White Light, White Heat and something else and afterwards he said \"that's the best I've sounded. You know you guys are really tight and heavy and then he was going to be doing Transformer. So, he said would you, would the spiders be my band? And it was all okayed. And then it got close to the day and somebody looked at it and went, hang on, it would be Lou Reed and the Spiders from Mars. That's- that's a bit off, do you know what I mean? So it got, that got dumped basically as an idea. &nbsp;</p>\n<p>But Mick had a reel-to-reel at the end of our bed, we both slept in the same room. so at night he'd come from the sessions and say \"do you want to hear what we've done today\"? So every night I heard all the tracks being built up and he said I'm gonna do this on that. And it was really good to watch the whole album, you know, come together. &nbsp;Yeah, it was amazing. <em>&nbsp;</em></p>\n<p><em>So, um, that amazing appearance on Top of the Pops in 72; wasn't when David did star man, a lot of people watching it, it was like in America when the Beatles went on Ed Sullivan, but much more profound because there was David looking amazing! He's got his arm round Mick Ronson; you imagine all the parents absolutely outraged. So, were you doin Top of the Pops that night with him?</em> &nbsp;</p>\n<p>Yeah, yeah, yeah. That was, I think we had- \"Status Quo\" were lined up in the corridor to go into the studio because you all had a separate stage and they were all in denim and we were all in our kind of glam flash gear and it was really, it was really quiet and Francis Rossi just went \"you guys make us feel so old\" and we- &nbsp;everybody just cracks out laughing. It was just, it was a weird moment because we looked like we looked and they was still in the denim and all that. &nbsp;</p>\n<p>It was that period, you know, but you know, you know when you, when you did that show, you didn't really think about what effect it was having. Do you know what I mean? It was only later on that we realized, because we were, that night we were on our way up to a gig in Scotland, so, we didn't even see it, you know. It was only when you saw the reports of the effect it had, and then to think that that track nearly wasn't on the album. Ziggy, you know? Because we'd finished Ziggy and the record company said no, we're not releasing it. And then we went why and &nbsp;they said because you haven't got a single. So, David just went over the weekend and wrote it. Just banged it out, you know. <em>&nbsp;</em></p>\n<p><em>He could do that?</em> &nbsp;</p>\n<p>Yeah, I mean, I think he could always do that when he felt like it. If he felt it fitted and he wanted to do that, he would just knock one out. You know, like Rebel, Rebel. Heroes. There was always one that he'd, no matter what the genre was, he seemed to have that ability to just write the hit from that album. You know.&nbsp;</p>\n<p><em>&nbsp;How would you describe David's sort of characteristic, I mean, was he very courteous? Could he be a bit of a difficult guy or- ?</em> &nbsp;</p>\n<p>All of the above, really. You know, if it wasn't going well you'd have a pretty dark session. And if it, kind of, there was too many obstacles or so, you know, you'd have a, you have, you'd have a guy handling the tape machine in the studio and his job was doing that and I remember once we were trying to figure out what do we do on the chorus, which is the best way to approach it, and the tape operator went \"well I think\" and he lasted about six minutes. &nbsp;Then we were back to normal, got a replacement, and it was like, you didn't go there. Do you know what I mean? He did-, you didn't, it wasn't allowed for anybody to throw in comments or anything like that. <em>&nbsp;</em></p>\n<p><em>What about that infamous night at Hammersmith Odeon and you're sitting behind the drum kit and then suddenly David makes this announcement which people thought was going to be the end of him ever doing any more live shows; did you think that when you heard it?</em> &nbsp;</p>\n<p>Yeah, I did. I actually did. I thought, well, maybe he's had enough. I mean, you know we'd done about 187 gigs with only a few days off here and there and it was ti- was tiring. It was getting to everybody. We still managed to be up for the show but after that you'd be collapsed, you know, so it was- I noticed it was getting to him, especially the Ziggy character that he had to put on every night. You know, Ziggy became, he became Ziggy 24/7. &nbsp;Where, as in the early days, he'd come off stage and he was David Bowie and you'd go for a drink, party, whatever, and have a good laugh, you know. Now it was Ziggy, you know. And, you know, Ziggy didn't carry money, so you had to pay for the taxies and whatever, you know. &nbsp;So, it became quite strange so when he announced it I thought, okay, maybe that's it. He's just decided, that's it, on a spur-of-the-moment. The next thought was, well, he's good at publicity stunts, so, maybe it's just a big withdrawal from the whole thing, so that people go no no No! You know? So, that went through my mind. And I didn't know for certain, probably, until about four or five days later, a hundred percent that it was the Ziggy thing he was finishing with, you know. &nbsp;He had talked about doing a funk thing, a soul thing on the American tour with me and he said I see you guys dressed in black, in the shadows, and not really being seen. And that didn't go down too well. He had dragged us out of the shadows and the progressive rock kind of gear and dressed us up and put the spotlight on us. Now, you want us to go back in the shadows? I don't think that's gonna happen, really.</p>\n<p>As found on <a href=\"https://www.youtube.com/watch?v=4_giMXsHnCw\">Youtube</a></p>\n</html>",
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xfcedyreplied to @lightningbowlt / re-lightningbowlt-the-take-off-and-landing-of-ziggy-stardust-20190310t155209459z

2019/03/10 15:52:12 UTC

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body	Great read! Keep this up. I am fascinated about all the influences that went into the character. I have actually found an intersting article detailing all the influences that went into creating [Ziggy Stardust](http://alt77.com/the-day-david-bowie-killed-off-ziggy-stardust) as well as Bowie's need to eventually get rid of him and move forward.
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      "body": "Great read! Keep this up. \nI am fascinated about all the influences that went into the character. I have actually found an intersting article detailing all the influences that went into creating [Ziggy Stardust](http://alt77.com/the-day-david-bowie-killed-off-ziggy-stardust) as well as Bowie's need to eventually get rid of him and move forward.",
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xfcedyupvoted (100.00%) @lightningbowlt / the-take-off-and-landing-of-ziggy-stardust

2019/03/10 15:49:39 UTC

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lightningbowltfollowed @allaz

2019/03/04 20:40:06 UTC

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lightningbowltpublished a new post: you-re-own-stem-cells-are-lazy

2019/02/28 20:04:51 UTC

30,752,161|f014874

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parent permlink	stemcells
author	lightningbowlt
permlink	you-re-own-stem-cells-are-lazy
title	You're Own Stem Cells Are Lazy
body	<html> <p><img src="http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-12"/><img src="http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-12.jpg" width="881" height="625"/></p> <p>Hi. I'm Dr. David Greene, founder and CEO of our R3 stem cell, the nation's leader in regenerative medicine therapies. The topic today is your stem cells are lazy. What do I mean by that? And it's not meant to be offensive, it's just the truth in most cases. Once we reach the age of about 50 your stem cell counts drop off a cliff. Okay? You have about 90 percent less stem cells than you did when you were born but that's not the topic of this video. The topic is your stem cells are lazy, so the stem cells that you are making in your bone marrow or your adipose start to get less and less active. And that research has been done at Case Western Reserve University in Cleveland. And the researchers found that there was much less activity in those stem cells from your own body, but they don't exactly know why.</p> <p>So, why would your stem cells get lazy and become couch potatoes? Once you reach the age of 50 and onward as opposed to the usage of stem cells from a younger source, it could be the fact that toxins that we take in over the years such as, you know, the alcohol that we drink, the smoking that people do, radio waves that hit our body. Maybe it's from some of the foods that we eat or the diseases that we have over the years, we don't know exactly but that is what we do know is that the stem cells that we all have after the age of, like, 50 are lazy.</p> <p>So, you should think twice before you have a stem cell therapy using your own tissue bone marrow or fat after that age because not only are they're gonna be much less stem cells to work with, they're gonna be lazy. So, I hope that clears that up. visit us at our R3stemcell.com for a lot more information about stem cell therapy.</p> </html>
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"body": "<html>\n<img src=\"http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-12\"/><img src=\"http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-12.jpg\" width=\"881\" height=\"625\"/>\nHi. I'm Dr. David Greene, founder and CEO of our R3 stem cell, the nation's leader in regenerative medicine therapies. The topic today is your stem cells are lazy. What do I mean by that? And it's not meant to be offensive, it's just the truth in most cases. Once we reach the age of about 50 your stem cell counts drop off a cliff. Okay? You have about 90 percent less stem cells than you did when you were born but that's not the topic of this video. The topic is your stem cells are lazy, so the stem cells that you are making in your bone marrow or your adipose start to get less and less active. And that research has been done at Case Western Reserve University in Cleveland. And the researchers found that there was much less activity in those stem cells from your own body, but they don't exactly know why.\nSo, why would your stem cells get lazy and become couch potatoes? Once you reach the age of 50 and onward as opposed to the usage of stem cells from a younger source, it could be the fact that toxins that we take in over the years such as, you know, the alcohol that we drink, the smoking that people do, radio waves that hit our body. Maybe it's from some of the foods that we eat or the diseases that we have over the years, we don't know exactly but that is what we do know is that the stem cells that we all have after the age of, like, 50 are lazy.\nSo, you should think twice before you have a stem cell therapy using your own tissue bone marrow or fat after that age because not only are they're gonna be much less stem cells to work with, they're gonna be lazy. So, I hope that clears that up. visit us at our R3stemcell.com for a lot more information about stem cell therapy.\n</html>",
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lightningbowltpublished a new post: stem-cell-fraud

2019/02/28 02:53:12 UTC

30,731,546|48c2788

parent author
parent permlink	stemcell
author	lightningbowlt
permlink	stem-cell-fraud
title	Stem Cell Fraud
body	<html> <p><img src="http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-12.jpg" width="881" height="625"/></p> <p><strong>NOT ALL STEM CELL CENTERS ARE CREATED EQUAL</strong></p> <ul> <li><strong>Don't Become an Amniotic "Stem Cell" Victim</strong></li> <li><strong>Learn the difference between Amniotic Stem Cell Scams</strong></li> </ul> <p><strong>Jason D. Tucker</strong></p> <p>Recently, there has been some negative press in the media about stem cells and I wanted to clarify a few things about that.</p> <p>In 2019 the only way to legally, safely and effectively do a legitimate stem cell treatment in the United States is to use your own body's tissue in your own body stem cells. The reason for that is that the amniotic and umbilical type products tissue and fluid does not actually contain any living stem cell tissue. Therefore it is fraudulent.</p> <p>Furthermore, the FDA has said that it is illegal to use another person's stem cells or tissue for your own body for an orthopedic indication.</p> <p>I encourage you to do your research and I encourage you to really look into these different options and I think you'll find that using your own body stem cells and your own body's healing capabilities is the only way that you're going to get a safe, effective and legal stem-cell treatment in the United States in 2019.</p> </html>
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      "body": "<html>\n<p><img src=\"http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-12.jpg\" width=\"881\" height=\"625\"/></p>\n<p><strong>NOT ALL STEM CELL CENTERS ARE CREATED EQUAL</strong></p>\n<ul>\n  <li><strong>Don't Become an Amniotic \"Stem Cell\" Victim</strong></li>\n  <li><strong>Learn the difference between Amniotic Stem Cell Scams</strong></li>\n</ul>\n<p><strong>Jason D. Tucker</strong></p>\n<p>Recently, there has been some negative press in the media about stem cells and I wanted to clarify a few things about that.</p>\n<p>In 2019 the only way to legally, safely and effectively do a legitimate stem cell treatment in the United States is to use your own body's tissue in your own body stem cells. The reason for that is that the amniotic and umbilical type products tissue and fluid does not actually contain any living stem cell tissue. Therefore it is fraudulent.</p>\n<p>Furthermore, the FDA has said that it is illegal to use another person's stem cells or tissue for your own body for an orthopedic indication.</p>\n<p>I encourage you to do your research and I encourage you to really look into these different options and I think you'll find that using your own body stem cells and your own body's healing capabilities is the only way that you're going to get a safe, effective and legal stem-cell treatment in the United States in 2019.</p>\n</html>",
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lightningbowltpublished a new post: who-is-a-candidate-for-stem-cell-therapy-dr-tanuj-palvia-new-york-ny

2019/02/28 00:04:36 UTC

30,728,178|b359e5d

parent author
parent permlink	stemcelltherapy
author	lightningbowlt
permlink	who-is-a-candidate-for-stem-cell-therapy-dr-tanuj-palvia-new-york-ny
title	Who Is a Candidate for Stem Cell Therapy? - Dr. Tanuj Palvia, New York, NY
body	<html> <p><img src="http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-12.jpg" width="881" height="625"/></p> <p>  My name is Dr. Tanuj Palvia. I'm an interventional pain specialist. I have been with physiologic medicine, which is a practice in Brooklyn, New York, for the last two years. Stem cells are a hot buzzword these days and to every single person they can mean something completely different. For us, stem cells are very powerful tool for regeneration, but, when I see a patient for the first time, oftentimes the diagnosis needs to be established, we really need to understand what we're working with; maybe, often, the scenario where the patient could respond to multiple therapies before we jump right into regenerative medicine. Maybe we should take a step back and sort of look at the big picture or maybe there's some underlying condition that's driving your situation here. So, stem cell, while it is a very powerful tool, it is not the only thing that we would be providing for our patients. Because it may not always be the answer for every particular problem. </p> <p>Well, there definitely is a role for surgery. Okay? I mean, we would not be living as long as we are without having certain critical surgical techniques that we have. But definitely surgery should not be a first option or even a second option or a third option. We try to view surgery as a last option, because while surgical techniques have improved there's still a recovery time, there are not guarantees. So, we know there we believe in minimally invasive techniques and modalities that can help patients improve.</p> <p><strong>Regenerative Medicine - What Makes a Qualified Candidate?</strong></p> <p>I usually like to categorize patients into three buckets or categories, rather. The first one is just your healthy kind of, maybe twisted their ankle over the weekend. Something that might be able to get better in a short term.</p> <p>Then the second category of patients are those that have had critical injuries. You break something, you snap something, a ligament- you tear a ligament, you break a bone, whatever it is that person is probably looking at surgery. And those are two kind of obvious conditions that, you know, we sort of have to look at at the very surface. But the majority of patients are somewhere in between those two and that's really where it takes the assessment of a team of expert practitioners to really assess will a regenerative option where conservative management, including, you know, maybe a short course of medications, different types of rehabilitative techniques or therapies or regenerative options such as platelet-rich plasma or stem cells. Will this road be helpful or maybe it's something that would not be helpful or it's something that, maybe, we will try this first. If we've had success there and you're showing continuous success we can avoid that surgery. Which the goal should be, to avoid surgery, if possible.</p> <p>I believe the best care you can get for rehabilitation is multidisciplinary and I believe when you're in under the care and supervision of an MD, someone who really understands what the core problem is, what the core nature of the injury is. I believe that you're, if that, if that practitioner is working with other providers, I believe you have the greatest chance of success. Rather than going to a place where they just have physical therapy or they just have chiropractors or it's just a doctor who is just doing injections. And, then, that's it.  I believe it's really, the strength of our clinic and the strength of the service that we provide is that we really try to attack your condition from multiple angles and so, therefore, what we are starting to believe in is not only trying to diagnose conditions so that we can target our therapies towards them, but how can we repair injuries or tissues without having to send you to surgery.</p> <p>And one of tools that we've been using most lately is regenerative medicine, which is designed to actually try to heal or even regenerate an area that has been damaged by whatever injury present. As much as I tried to know everything and be able to solve every single problem, everyone's looking at a problem from their own scope and sometimes you need the expertise of someone. A complementary provider who can really help you look at something through a separate lens and try to come to the conclusion as to what the problem is and what the  best treatment modalities are, really trying to optimize your medical background so we're often working together closely to really tailor your recovery. </p> <p>I am Dr. <a href="https://www.youtube.com/watch?v=2rqwi4eEN3Y">Palvia</a> working out of physiologic medicine in Brooklyn, New York . </p> </html>
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"body": "<html>\n<img src=\"http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-12.jpg\" width=\"881\" height=\"625\"/>\n&nbsp;&nbsp;My name is Dr. Tanuj Palvia. I'm an interventional pain specialist. I have been with physiologic medicine, which is a practice in Brooklyn, New York, for the last two years. Stem cells are a hot buzzword these days and to every single person they can mean something completely different. For us, stem cells are very powerful tool for regeneration, but, when I see a patient for the first time, oftentimes the diagnosis needs to be established, we really need to understand what we're working with; maybe, often, the scenario where the patient could respond to multiple therapies before we jump right into regenerative medicine. Maybe we should take a step back and sort of look at the big picture or maybe there's some underlying condition that's driving your situation here. So, stem cell, while it is a very powerful tool, it is not the only thing that we would be providing for our patients. Because it may not always be the answer for every particular problem.&nbsp;\nWell, there definitely is a role for surgery. Okay? I mean, we would not be living as long as we are without having certain critical surgical techniques that we have. But definitely surgery should not be a first option or even a second option or a third option. We try to view surgery as a last option, because while surgical techniques have improved there's still a recovery time, there are not guarantees. So, we know there we believe in minimally invasive techniques and modalities that can help patients improve.\nRegenerative Medicine - What Makes a Qualified Candidate?\nI usually like to categorize patients into three buckets or categories, rather. The first one is just your healthy kind of, maybe twisted their ankle over the weekend. Something that might be able to get better in a short term.\nThen the second category of patients are those that have had critical injuries. You break something, you snap something, a ligament- you tear a ligament, you break a bone, whatever it is that person is probably looking at surgery. And those are two kind of obvious conditions that, you know, we sort of have to look at at the very surface. But the majority of patients are somewhere in between those two and that's really where it takes the assessment of a team of expert practitioners to really assess will a regenerative option where conservative management, including, you know, maybe a short course of medications, different types of rehabilitative techniques or therapies or regenerative options such as platelet-rich plasma or stem cells. Will this road be helpful or maybe it's something that would not be helpful or it's something that, maybe, we will try this first. If we've had success there and you're showing continuous success we can avoid that surgery. Which the goal should be, to avoid surgery, if possible.\nI believe the best care you can get for rehabilitation is multidisciplinary and I believe when you're in under the care and supervision of an MD, someone who really understands what the core problem is, what the core nature of the injury is. I believe that you're, if that, if that practitioner is working with other providers, I believe you have the greatest chance of success. Rather than going to a place where they just have physical therapy or they just have chiropractors or it's just a doctor who is just doing injections. And, then, that's it. &nbsp;I believe it's really, the strength of our clinic and the strength of the service that we provide is that we really try to attack your condition from multiple angles and so, therefore, what we are starting to believe in is not only trying to diagnose conditions so that we can target our therapies towards them, but how can we repair injuries or tissues without having to send you to surgery.\nAnd one of tools that we've been using most lately is regenerative medicine, which is designed to actually try to heal or even regenerate an area that has been damaged by whatever injury present. As much as I tried to know everything and be able to solve every single problem, everyone's looking at a problem from their own scope and sometimes you need the expertise of someone. A complementary provider who can really help you look at something through a separate lens and try to come to the conclusion as to what the problem is and what the &nbsp;best treatment modalities are, really trying to optimize your medical background so we're often working together closely to really tailor your recovery.&nbsp;\nI am Dr. <a href=\"https://www.youtube.com/watch?v=2rqwi4eEN3Y\">Palvia</a> working out of physiologic medicine in Brooklyn, New York .&nbsp;\n</html>",
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lightningbowltpublished a new post: how-stem-cell-injections-can-help-you-heal-faster

2019/02/27 22:10:48 UTC

30,725,902|8f86d0e

parent author
parent permlink	stemcellinjections
author	lightningbowlt
permlink	how-stem-cell-injections-can-help-you-heal-faster
title	How Stem Cell Injections Can Help You Heal Faster
body	<html> <p><img src="http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-15.jpg" width="881" height="625"/></p> <p><strong>ENHANCING YOUR BODY'S HEALING PROCESS with Stem Cell Injections</strong></p> <p>Dr. Blake Johnson - CDI Medical Lead, Regenerative Medicine</p> <p>I was a runner. But my knee generation got to the point where walking to see a patient hurt and one day I literally asked one of my colleagues to put some steroids in local anaesthetic in my knees so I could continue my clinic. And that lasted me for about three months, provided really really good relief but the pain recurred at the end of the summer and I decided I was going to try something else. And I did some research and decided to try a stem cell injection. I had that done two and a half years ago. I'm pain free today and that's what really inspired me to offer to my patients.</p> <p><strong>Harnessing the power of Stem Cells</strong></p> <p>So, what stem cells do is they have a couple of properties; one is the ability to renew themselves.  They can regenerate and create new stem cells. And the second property is that they are pleura potential. Which means they can differentiate into other cell types. Stem cells are present in  high concentrations in the bone marrow and lesser concentrations in other tissue, like liver, skin, muscle and they are deployed when we get injured or when degeneration takes place to the site of injury. And then they interact with the ambient cells, which are the cells that are. They're exchanging proteins and RNA that induces those stem cells to become the type of cell in that environment that helps the regeneration process</p> <p><strong>Harvesting your Stem Cells</strong></p> <p>We have very gentle procedure for doing that. We obtain the bone marrow, we filter it and then put it through a centrifuge process that isolates the stem cells. And they would be injected into the joint or disc, for the stem cells. Their main function is to repair the joint or the tendon or the ligament that has been injured.</p> <p><strong>Is a Stem Cell Injection Right for Me?</strong></p> <p>We use them for ligament injuries. Tendon injuries. Any kind of joint degeneration or injury as long as it's not completely degenerated and there's a chance for the repair of the cartilage and other tissues that are in the joint. We are using it for in the spine, in the discs, intervertebral discs, for disc degeneration and in the sacroiliac and facet joints in the spine and pelvis. A good Candidate would have to have degeneration that can be isolated to that specific joint or tendon and would have to have enough tissue there to work with. There is no magic bullet, but this is another option that we can offer that even from personal experience I can tell you I think this is revolutionary.</p> </html>
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      "body": "<html>\n<p><img src=\"http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-15.jpg\" width=\"881\" height=\"625\"/></p>\n<p><strong>ENHANCING YOUR BODY'S HEALING PROCESS with Stem Cell Injections</strong></p>\n<p>Dr. Blake Johnson - CDI Medical Lead, Regenerative Medicine</p>\n<p>I was a runner. But my knee generation got to the point where walking to see a patient hurt and one day I literally asked one of my colleagues to put some steroids in local anaesthetic in my knees so I could continue my clinic. And that lasted me for about three months, provided really really good relief but the pain recurred at the end of the summer and I decided I was going to try something else. And I did some research and decided to try a stem cell injection. I had that done two and a half years ago. I'm pain free today and that's what really inspired me to offer to my patients.</p>\n<p><strong>Harnessing the power of Stem Cells</strong></p>\n<p>So, what stem cells do is they have a couple of properties; one is the ability to renew themselves. &nbsp;They can regenerate and create new stem cells. And the second property is that they are pleura potential. Which means they can differentiate into other cell types. Stem cells are present in &nbsp;high concentrations in the bone marrow and lesser concentrations in other tissue, like liver, skin, muscle and they are deployed when we get injured or when degeneration takes place to the site of injury. And then they interact with the ambient cells, which are the cells that are. They're exchanging proteins and RNA that induces those stem cells to become the type of cell in that environment that helps the regeneration process</p>\n<p><strong>Harvesting your Stem Cells</strong></p>\n<p>We have very gentle procedure for doing that. We obtain the bone marrow, we filter it and then put it through a centrifuge process that isolates the stem cells. And they would be injected into the joint or disc, for the stem cells. Their main function is to repair the joint or the tendon or the ligament that has been injured.</p>\n<p><strong>Is a Stem Cell Injection Right for Me?</strong></p>\n<p>We use them for ligament injuries. Tendon injuries. Any kind of joint degeneration or injury as long as it's not completely degenerated and there's a chance for the repair of the cartilage and other tissues that are in the joint. We are using it for in the spine, in the discs, intervertebral discs, for disc degeneration and in the sacroiliac and facet joints in the spine and pelvis. A good Candidate would have to have degeneration that can be isolated to that specific joint or tendon and would have to have enough tissue there to work with. There is no magic bullet, but this is another option that we can offer that even from personal experience I can tell you I think this is revolutionary.</p>\n</html>",
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lightningbowltpublished a new post: stem-cell-clinical-trials-4-things-to-know

2019/02/27 20:20:09 UTC

30,723,689|752edfd

parent author
parent permlink	stemcell
author	lightningbowlt
permlink	stem-cell-clinical-trials-4-things-to-know
title	Stem Cell Clinical Trials: 4 Things to Know
body	<html> <ul> <li><img src="http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-16.jpg" width="881" height="625"/></li> </ul> <p><br></p> <p>Modern medicine has made amazing advances. Yet many diseases and injuries remain insurable. As a result, people suffering and dying from incurable disorders look to stem cell-based clinical trials for help. Every drug, every therapy approved in the US had to first go through a clinical trial to prove that treatments were both safe and effective in people.  If you're thinking about taking part in a clinical trial, it can be difficult finding one that is right for you. So, before you make any decision consider the following four questions: </p> <p>Question 1</p> <p>Where can I find a clinical trial for my condition? Besides talking to your doctor, a great place to look is clinical trials.gov. You can search for trials related to your condition. Search results let you know if you might be eligible for a trial. You can also find contact info so that you or your doctor can talk to someone for more details.  </p> <p>Question 2 </p> <p>What are my chances of being cured in any clinical trial?  It's important to have realistic expectations. Keep in mind that: early stage or phase 1 trials test just a small dose of the therapy to make sure it's safe. But it's often too low to have any major benefit or, in some cases, any benefit at all. Also, in later phase 2 and 3 trials some people don't get the actual therapy. Instead, they receive a placebo or blank therapy for comparison purposes. And even if you get the actual treatment, it may not work for you.</p> <p>Question 3</p> <p>How much does it cost to be in a clinical trial?  Usually the company or Institute running the clinical trial covers the cost of the therapy. You might have to pay for your own travel or for routine medical care, that isn't funded by the clinical trial, but be very skeptical about experimental treatments that expect the patient to pay in full.</p> <p>Question 4</p> <p> How do I know a clinical trial will be safe? In the US, the Food and Drug Administration the FDA regulates medical therapies to make sure that FDA-approved clinical trials are safe as possible. Still, every clinical trial carries some risk regardless of whether or not it's FDA approved, so be wary of any clinic claiming that their stem-cell treatment is risk-free. It's scary, but true that many for-profit clinics in the US and abroad offer treatments that are not approved by the FDA. Consenting to these treatments can do more harm than good. </p> <p>Okay, that's just the tip of the iceberg for deciding if a particular clinical trial is right for you. For more information, visit these websites: </p> <p><a href="http://www.closerlookatstemcells.org/">www.closerlookatstemcells.org</a></p> <p> <a href="http://www.cirm.ca.gov/clinicaltrials">www.cirm.ca.gov/clinicaltrials</a> </p> <p>And remember, being part of a clinical trial is a big undertaking. But it's a critical step for getting promising stem cell therapies approved for patients with unmet medical needs.  </p> </html>
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      "body": "<html>\n<ul>\n  <li><img src=\"http://lightningbowlt.com/wp-content/uploads/2019/02/Stem-Cell-16.jpg\" width=\"881\" height=\"625\"/></li>\n</ul>\n<p><br></p>\n<p>Modern medicine has made amazing advances. Yet many diseases and injuries remain insurable. As a result, people suffering and dying from incurable disorders look to stem cell-based clinical trials for help. Every drug, every therapy approved in the US had to first go through a clinical trial to prove that treatments were both safe and effective in people. &nbsp;If you're thinking about taking part in a clinical trial, it can be difficult finding one that is right for you. So, before you make any decision consider the following four questions:&nbsp;</p>\n<p>Question 1</p>\n<p>Where can I find a clinical trial for my condition? Besides talking to your doctor, a great place to look is clinical trials.gov. You can search for trials related to your condition. Search results let you know if you might be eligible for a trial. You can also find contact info so that you or your doctor can talk to someone for more details. &nbsp;</p>\n<p>Question 2&nbsp;</p>\n<p>What are my chances of being cured in any clinical trial? &nbsp;It's important to have realistic expectations. Keep in mind that: early stage or phase 1 trials test just a small dose of the therapy to make sure it's safe. But it's often too low to have any major benefit or, in some cases, any benefit at all. Also, in later phase 2 and 3 trials some people don't get the actual therapy. Instead, they receive a placebo or blank therapy for comparison purposes. And even if you get the actual treatment, it may not work for you.</p>\n<p>Question 3</p>\n<p>How much does it cost to be in a clinical trial? &nbsp;Usually the company or Institute running the clinical trial covers the cost of the therapy. You might have to pay for your own travel or for routine medical care, that isn't funded by the clinical trial, but be very skeptical about experimental treatments that expect the patient to pay in full.</p>\n<p>Question 4</p>\n<p>&nbsp;How do I know a clinical trial will be safe? In the US, the Food and Drug Administration the FDA regulates medical therapies to make sure that FDA-approved clinical trials are safe as possible. Still, every clinical trial carries some risk regardless of whether or not it's FDA approved, so be wary of any clinic claiming that their stem-cell treatment is risk-free. It's scary, but true that many for-profit clinics in the US and abroad offer treatments that are not approved by the FDA. Consenting to these treatments can do more harm than good.&nbsp;</p>\n<p>Okay, that's just the tip of the iceberg for deciding if a particular clinical trial is right for you. For more information, visit these websites:&nbsp;</p>\n<p><a href=\"http://www.closerlookatstemcells.org/\">www.closerlookatstemcells.org</a></p>\n<p>&nbsp;<a href=\"http://www.cirm.ca.gov/clinicaltrials\">www.cirm.ca.gov/clinicaltrials</a>&nbsp;</p>\n<p>And remember, being part of a clinical trial is a big undertaking. But it's a critical step for getting promising stem cell therapies approved for patients with unmet medical needs. &nbsp;</p>\n</html>",
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lightningbowltpublished a new post: the-rise-and-fall-of-ziggy-stardust-and-the-spiders-from-mars-album-reviews

2019/02/27 07:01:39 UTC

30,707,731|26f4b74

parent author
parent permlink	bowie
author	lightningbowlt
permlink	the-rise-and-fall-of-ziggy-stardust-and-the-spiders-from-mars-album-reviews
title	The Rise and Fall of Ziggy Stardust and the Spiders from Mars - Album Reviews
body	<html> <p><img src="http://lightningbowlt.com/wp-content/uploads/2019/02/Ziggy-Stardust.jpg" width="480" height="480"/></p> <p><em>I thought it would be interesting in the perspective of time to compare the original Rolling Stone Ziggy Stardust album review with a review by someone who, presumably, was not even born yet at the time of the album. Here is a 2016 The Rise and Fall of Ziggy Stardust - Album Review (Videoblog style) by Needledrop</em> </p> <p>Hi everyone, it's time for a classic review of David Bowie's the <strong>Rise and Fall of Ziggy Stardust and the Spiders from Mars</strong>. Gotta say the full title guys. The late and the great Mr. David Bowie: multi-instrumentalist, producer, singer, songwriter. His untimely death rocked the music industry earlier this year not only because we lost one of the most iconic figures in modern music, but also the album that coincided with his death <strong>Blackstar.</strong> The album was very much about it; Bowie's death,  his spirit, the afterlife, his fame, his memory in the public eye. I thought I would take this classic sweet opportunity, since we lost David Bowie in the first half of this year, to talk about his most popular album. – Yeah!!??</p> <p> Now, this record is a part of several notable phases in David Bowie's career; we have the early years, which showcased a lot of baroque pop and a lot of folk influences. Later, down the road in the late 70s and the early 80s we would hear a lot of pop rock, art rock, experimental rock but in the early in mid 70s Ziggy Stardust here is considered to be the pinnacle of David Bowie's glam rock era pairing with albums such as <strong>Aladdin Sane</strong> and <strong>The Man Who Sold The World</strong> as well as <strong>Hunky Dory</strong>, the album that directly preceded this one; not a perfect album, it does have a song “Kooks” on it…  -Please don't kill me, but an important record all the same because it did set the foundation for what was to come on this record. You could catch these very theatrical and incredibly catchy rock songs with prominent lead guitars that are very sharp and melodic as well as some wonderful and rich pianos that are kind of playful and jumpy.</p> <p> This album featured iconic David Bowie singles such as “Changes”.  Other tracks were direct references to artists who David Bowie drew an incredible amount of influence and inspiration from. David Bowie, an artist who always wore his influences on his sleeve; we have a tribute to Bob Dylan on this album. Andy Warhol as well. And the song Queen bitch is deeply inspired by Lou Reed and The Velvet Underground. The baroque and folk influences on this record still come through on cuts like “Quicksand”. </p> <p>But there is one track on <strong>Hunky Dory</strong> that is incredibly important to take note of considering the themes of Ziggy Stardust and that is the song “Life on Mars?”.  It ends at a question mark; you got to say it like a question! And the theme that I'm talking about here is space. At this point David Bowie had long been obsessed with space as a theme in his art. I mean one of his big breakout singles “Space Oddity” c-can't forget that. And “Life on Mars?” isn't so much about life on Mars. Instead it uses Mars as an escape or just an idea of an escape away from the mundane struggles and cliched commercial art of planet Earth. It only makes sense that a song that would make such a statement would be wrapped in just lavish arranged instrumentation and be just instrumentally grand and showy. Kind of like a peacock. Anyway, he explores these themes of rock and roll and space and fame through these really ambitious instrumentals and inventive characters and while <strong>Ziggy Stardust</strong> may not be as heavy and punchy and instrumentally crisp as the follow-up album <strong>Aladdin Sane</strong>, which was dropped just a year later, it's really the themes and the concept of <strong>Ziggy Stardust</strong> that makes this album so CheY CheY CheY seminal record for Bowie.</p> <p> The record kicks off not only with some beautiful piano and some very dramatic vocals from David Bowie but also with a storyline that sounds like it's ripped straight out of a sci-fi movie and that is that essentially the earth is dying and it has five years left to live. The track has this gentle groove and three-four, these beautiful piano and string crescendos. A sort of get dissonant and chaotic at the end with David Bowie's vocals just shouting and going crazy and the lyrics have this rush of nostalgia like David Bowie's life is just kind of flashing before his eyes and he's thinking about all these things that he's gonna miss. Some of these things are very mundane everyday stuff whether it be boys and toys and TVs and electric irons; all these things he feels like he needs to stash away in his mind, his mind he compares it to a warehouse and it's all cluttered and he needs to jam everything in there because everything is literally about to be erased from the face of the earth and there are so many things going on lyrically in the track. I mean, there are references to everyday life as well as political jabs like when a cop sort of kisses the feet of a preacher and David Bowie says this causes a nearby queer to throw up. </p> <p>The entire track is just a mural with numerous characters and things going on at once. It's a beautiful open to the record and sort of gives the album a very doomy and gloomy tone but it deviates from it really quickly once the song “Soul Love” pops in, which is a very lovely love song. Very sensual and smooth. But with Bowie's very odd and doubled singing voice on the track it almost sounds like he's an alien being beamed down from another planet to deliver a message of peace and love set to some saxophone and some springy hand percussion and some very tinny acoustic guitar. And while it is a love song I think it avoids a lot of the cliches of the love songs of the day because Bowie sings about of in this very abstract and philosophical sense.</p> <p>We get into the song Moonage Daydream which is a little more eventful. Not only because I think it gets back into the concept, the narrative of the record, but it features these punchy guitars; Loud. Blaring. Great drum fills. One of David Bowie's most iconic opening lyrics “I'm a mama papa comin’ for you”. Which might have been his way of censoring himself from saying the word motherfucker; not totally sure. This track, in a sense, is also an introduction to the Ziggy Stardust character even though the track itself predates this album. Still, though Bowie portrays himself as a space invader who is leaving quite the impression on Earth's population, he seems almost like this object of infatuation or he wants to be, anyway. Especially when the chorus comes around and he's saying keep your electric eye on me and I know if we take the narrative of this record and we look at it just on the surface Ziggy is supposed to be coming down and saving the world from this five-year oblivion that's going to be suffering. But this track and the album itself is really more of a statement on Fame and attention and wanting attention and there are other interpretations that people can pull from this track. But that attention, that Fame narrative becomes more and more apparent as the album progresses.</p> <p>Now, I don't want to leave this track before saying that I love the instrumental here. The guitar solo passage is fantastic! The psychedelic effects on the vocals are wonderful. The strings get totally wild toward the end of the cut. The horns and flute passage in the middle of the track is beautiful, too. In a way I see Bowie portraying himself on this track as an artist or a figure who, if he had the platform, if he had the opportunity, he could leave a real impact on people. Leave a real impression on people. And that feeling is kind of confirmed on the song “Starman” where Bowie literally sings about the star man being in the sky and he would like to come down but he feels like if he does and he exposes us to these new ideas and sounds and, whatever, he'll blow our minds.</p> <p>In his own art David Bowie is telling us that he feels like he has something special to offer. Something that's going to leave a mark on musical and artistic history and maybe it's this mark. It's this new set of ideas that he’s sort of given us that have actually ended up saving the world from this five-year peril that he's singing about earlier. </p> <p> On the song “It Ain't Easy” we deviate from the narrative of the album again because the track is essentially a cover song of a Ray Davies track. Which is a actually very soulful and wonderful country song that dropped in 1970. Has a really plucky acoustic guitar intro as well. David Bowie's renditions here is much heavier punchier his very yell-pee vocal delivery on the cut I imagine could have left a strong impression on like a young Jack White.</p> <p>But once we get into the song “Lady Stardust” we have David Bowie reflecting on image once again. Now, in respect to glam rock and specifically Marc Bolan of T-Rex, who the song references; He was notorious for his performance makeup and his long black hair and like sort of this star man that David Bowie was singing about earlier. He is this artistic, he is this rock-and-roll figure who close minded people are just baffled by. So, in a way, David Bowie is kind of commenting on this new wave of expression in rock music and the way that the public is kind of interpreting i. In it, then, you have to consider the themes on this album and in glam rock in general that dealt in homosexuality. Because glam rock was home to many superstars that were either gay or bisexual or use the characters they would play onstage to bend gender.</p> <p>What I find so interesting about this record is just how popular it still is and I tribute that mostly to the music of the album, which is wonderful. It's beautiful! It's awesomely produced glam rock music with great detailed lavish instrumentation. But when we dive into the lyrics of the album they're very dated, in a sense, because it's very meta and it's very of the time that this album was released in. The type of stuff that Marc Bolan and David Bowie were doing back in the day wouldn't turn any heads today but you have to think about just how close minded a lot of people would have had to have been back in the 70s. Not only to just be blatantly rejecting homosexuality but just the mere stage show that artists like Bolin and Bowie were putting together. </p> <p>So, yes, this is one of many moments where David Bowie is just reflecting on the image of glam in the public's perception. David Bowie dives directly into the idea of rock stardom on the song “Star”, which I guess in a way is still space themed since Star space, ha ha. But, lyrically David Bowie portrays a rock star as something to transform into, mutate into and it's not only something that he wants, it's like he needs it as well because by the end of the track he's telling us that he'd be able to sleep at night if he was a rock and roll star. He'd be able to fall in love if he was a rock-and-roll star</p> <p> The song “Hang On To Yourself” isn't one of the more lyrically intriguing moments, although we do get a direct reference to the spiders from Mars on this track, which is Ziggy Stardust’s backing band. Which he addresses directly on the very next track. But this song is pretty awesome because it features these punky guitar riffs that feel like the something that would have come off of, like, a New York Dolls record. So, while Bowie was an artist who very blatantly borrowed from a lot of his contemporaries, he was also an artist who, in a lot of respects, was ahead of the curve.</p> <p>Now, Ziggy Stardust’s song isn't really this heroic entry in any sort of way. In this track Bowie explores fame even deeper and, in a way, the fame that Ziggy Stardust has received due to just being so great on guitar and being a great musician has kind of poisoned him. Because by the end of the cut he's sucked up into his own ego and the band ends up having to be broken up because, as David Bowie sings in the song, he's taking it too far which eventually leads us to his, uh, I guess in a sense his rock-and-roll suicide that ends the album off.</p> <p>Because, even though David Bowie has portrayed stardom and fame as this wonderful beautiful thing for much of this record, something that he very much wants and very much needs, the star that has risen on the album now needs to fall because on this record this song is essentially the curtain closing on Ziggy. </p> <p>And it is a very epic curtain close as it really feels like, on this cut, that just the spotlight is on the character that Bowie is playing. You know, Bowie is one of those artists who, one of the earliest examples I could think of who, in his music, when he’s singing, it really feels like I'm listening to a stage show. It feels like I'm listening to a singer just on a hot spotlight and he's delivering not only just great singing and great lyrics but also a performance on a theatrical level. And sure there have been many artists who have played characters in their songs over the years and have told great stories in their songs over the years. But I feel like Bowie, more than any of those other artists who came before him, embodied this sense of drama and theater in his music, like, to the extreme, especially at the end of this track is. He's just shouting “give me your hands give me a hand” and just before a big rush of instrumentation –“oh no you're not alone”! A really beautiful and dramatic finish to this beautiful and dramatic and very meta and self-referencing album. An album that when you really get into the lyrics, again, David Bowie makes some interesting statements on the artistic and the musical politics of the time; in relation to glam rock and, in a way, art and public image and sexuality, too.</p> <p>All these things, I think, continue to make Ziggy Stardust an interesting and relevant and an influential record. Sure, the music is fantastic. I mean, it's beautiful, gorgeous rock music with, again, that extra instrumentation, which is added into it so tastefully, doesn't take away from the visceral and the excitement of the bass instrumentation, of the bass guitar, of the guitars and the drums and the vocals and then, on top of that, many of the statements on Fame, which I think are very relevant on this record, to the themes that have not only been explored again and again and again by countless rock stars, such as Marilyn Manson, but also many rappers today are now going through a very similar meta cycle where a lot of rap albums from artists like Kanye West and Drake and Kendrick Lamar where they're essentially rapping about their own fame. But also about how it's not really all it's cracked up to be.</p> <p>But what's funny is that some of these statements are put so subtly or at least they're buried in hooks and choruses and instrumentation that are so beautiful. Unless you were really looking for David Bowie to be saying these things you might sort of miss it. Which is why I urge people who may even be, you know, familiar with this album instrumentally and really love the sound of this record - next time you're listening to it dive a little bit further into what David Bowie is saying and think about the time in history in which he is saying and I think I'm gonna leave this album review right there. </p> <p>Yes, a lot of cool contextual things about this album that I feel like we addressed here; cool narrative, awesome lyrical concepts and above all wonderful music. Wonderful rock music. Wonderful instrumentation. And I hope you give this record a shot if you haven't listened to it. </p> <p>Rest in peace, David Bowie!   </p> <p>Vs  </p> <p>Rolling Stone Magazine - Album Review, July 20, 1972</p> <p>The Rise and Fall of Ziggy Stardust and the Spiders from Mar</p> <p> https://www.rollingstone.com/music/music-album-reviews/the-rise-fall-of-ziggy-stardust-and-the-spiders-from-mars-95636/    </p> </html>
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"permlink": "the-rise-and-fall-of-ziggy-stardust-and-the-spiders-from-mars-album-reviews",
"title": "The Rise and Fall of Ziggy Stardust and the Spiders from Mars - Album Reviews",
"body": "<html>\n<img src=\"http://lightningbowlt.com/wp-content/uploads/2019/02/Ziggy-Stardust.jpg\" width=\"480\" height=\"480\"/>\nI thought it would be interesting in the perspective of time to compare the original Rolling Stone Ziggy Stardust album review with a review by someone who, presumably, was not even born yet at the time of the album. Here is a 2016 The Rise and Fall of Ziggy Stardust - Album Review (Videoblog style) by Needledrop&nbsp;\nHi everyone, it's time for a classic review of David Bowie's the Rise and Fall of Ziggy Stardust and the Spiders from Mars. Gotta say the full title guys. The late and the great Mr. David Bowie: multi-instrumentalist, producer, singer, songwriter. His untimely death rocked the music industry earlier this year not only because we lost one of the most iconic figures in modern music, but also the album that coincided with his death Blackstar. The album was very much about it; Bowie's death, &nbsp;his spirit, the afterlife, his fame, his memory in the public eye. I thought I would take this classic sweet opportunity, since we lost David Bowie in the first half of this year, to talk about his most popular album. – Yeah!!??\n&nbsp;Now, this record is a part of several notable phases in David Bowie's career; we have the early years, which showcased a lot of baroque pop and a lot of folk influences. Later, down the road in the late 70s and the early 80s we would hear a lot of pop rock, art rock, experimental rock but in the early in mid 70s Ziggy Stardust here is considered to be the pinnacle of David Bowie's glam rock era pairing with albums such as Aladdin Sane and The Man Who Sold The World as well as Hunky Dory, the album that directly preceded this one; not a perfect album, it does have a song “Kooks” on it… &nbsp;-Please don't kill me, but an important record all the same because it did set the foundation for what was to come on this record. You could catch these very theatrical and incredibly catchy rock songs with prominent lead guitars that are very sharp and melodic as well as some wonderful and rich pianos that are kind of playful and jumpy.\n&nbsp;This album featured iconic David Bowie singles such as “Changes”. &nbsp;Other tracks were direct references to artists who David Bowie drew an incredible amount of influence and inspiration from. David Bowie, an artist who always wore his influences on his sleeve; we have a tribute to Bob Dylan on this album. Andy Warhol as well. And the song Queen bitch is deeply inspired by Lou Reed and The Velvet Underground. The baroque and folk influences on this record still come through on cuts like “Quicksand”.&nbsp;\nBut there is one track on Hunky Dory that is incredibly important to take note of considering the themes of Ziggy Stardust and that is the song “Life on Mars?”. &nbsp;It ends at a question mark; you got to say it like a question! And the theme that I'm talking about here is space. At this point David Bowie had long been obsessed with space as a theme in his art. I mean one of his big breakout singles “Space Oddity” c-can't forget that. And “Life on Mars?” isn't so much about life on Mars. Instead it uses Mars as an escape or just an idea of an escape away from the mundane struggles and cliched commercial art of planet Earth. It only makes sense that a song that would make such a statement would be wrapped in just lavish arranged instrumentation and be just instrumentally grand and showy. Kind of like a peacock. Anyway, he explores these themes of rock and roll and space and fame through these really ambitious instrumentals and inventive characters and while Ziggy Stardust may not be as heavy and punchy and instrumentally crisp as the follow-up album Aladdin Sane, which was dropped just a year later, it's really the themes and the concept of Ziggy Stardust that makes this album so CheY CheY CheY seminal record for Bowie.\n&nbsp;The record kicks off not only with some beautiful piano and some very dramatic vocals from David Bowie but also with a storyline that sounds like it's ripped straight out of a sci-fi movie and that is that essentially the earth is dying and it has five years left to live. The track has this gentle groove and three-four, these beautiful piano and string crescendos. A sort of get dissonant and chaotic at the end with David Bowie's vocals just shouting and going crazy and the lyrics have this rush of nostalgia like David Bowie's life is just kind of flashing before his eyes and he's thinking about all these things that he's gonna miss. Some of these things are very mundane everyday stuff whether it be boys and toys and TVs and electric irons; all these things he feels like he needs to stash away in his mind, his mind he compares it to a warehouse and it's all cluttered and he needs to jam everything in there because everything is literally about to be erased from the face of the earth and there are so many things going on lyrically in the track. I mean, there are references to everyday life as well as political jabs like when a cop sort of kisses the feet of a preacher and David Bowie says this causes a nearby queer to throw up.&nbsp;\nThe entire track is just a mural with numerous characters and things going on at once. It's a beautiful open to the record and sort of gives the album a very doomy and gloomy tone but it deviates from it really quickly once the song “Soul Love” pops in, which is a very lovely love song. Very sensual and smooth. But with Bowie's very odd and doubled singing voice on the track it almost sounds like he's an alien being beamed down from another planet to deliver a message of peace and love set to some saxophone and some springy hand percussion and some very tinny acoustic guitar. And while it is a love song I think it avoids a lot of the cliches of the love songs of the day because Bowie sings about of in this very abstract and philosophical sense.\nWe get into the song Moonage Daydream which is a little more eventful. Not only because I think it gets back into the concept, the narrative of the record, but it features these punchy guitars; Loud. Blaring. Great drum fills. One of David Bowie's most iconic opening lyrics “I'm a mama papa comin’ for you”. Which might have been his way of censoring himself from saying the word motherfucker; not totally sure. This track, in a sense, is also an introduction to the Ziggy Stardust character even though the track itself predates this album. Still, though Bowie portrays himself as a space invader who is leaving quite the impression on Earth's population, he seems almost like this object of infatuation or he wants to be, anyway. Especially when the chorus comes around and he's saying keep your electric eye on me and I know if we take the narrative of this record and we look at it just on the surface Ziggy is supposed to be coming down and saving the world from this five-year oblivion that's going to be suffering. But this track and the album itself is really more of a statement on Fame and attention and wanting attention and there are other interpretations that people can pull from this track. But that attention, that Fame narrative becomes more and more apparent as the album progresses.\nNow, I don't want to leave this track before saying that I love the instrumental here. The guitar solo passage is fantastic! The psychedelic effects on the vocals are wonderful. The strings get totally wild toward the end of the cut. The horns and flute passage in the middle of the track is beautiful, too. In a way I see Bowie portraying himself on this track as an artist or a figure who, if he had the platform, if he had the opportunity, he could leave a real impact on people. Leave a real impression on people. And that feeling is kind of confirmed on the song “Starman” where Bowie literally sings about the star man being in the sky and he would like to come down but he feels like if he does and he exposes us to these new ideas and sounds and, whatever, he'll blow our minds.\nIn his own art David Bowie is telling us that he feels like he has something special to offer. Something that's going to leave a mark on musical and artistic history and maybe it's this mark. It's this new set of ideas that he’s sort of given us that have actually ended up saving the world from this five-year peril that he's singing about earlier.&nbsp;\n&nbsp;On the song “It Ain't Easy” we deviate from the narrative of the album again because the track is essentially a cover song of a Ray Davies track. Which is a actually very soulful and wonderful country song that dropped in 1970. Has a really plucky acoustic guitar intro as well. David Bowie's renditions here is much heavier punchier his very yell-pee vocal delivery on the cut I imagine could have left a strong impression on like a young Jack White.\nBut once we get into the song “Lady Stardust” we have David Bowie reflecting on image once again. Now, in respect to glam rock and specifically Marc Bolan of T-Rex, who the song references; He was notorious for his performance makeup and his long black hair and like sort of this star man that David Bowie was singing about earlier. He is this artistic, he is this rock-and-roll figure who close minded people are just baffled by. So, in a way, David Bowie is kind of commenting on this new wave of expression in rock music and the way that the public is kind of interpreting i. In it, then, you have to consider the themes on this album and in glam rock in general that dealt in homosexuality. Because glam rock was home to many superstars that were either gay or bisexual or use the characters they would play onstage to bend gender.\nWhat I find so interesting about this record is just how popular it still is and I tribute that mostly to the music of the album, which is wonderful. It's beautiful! It's awesomely produced glam rock music with great detailed lavish instrumentation. But when we dive into the lyrics of the album they're very dated, in a sense, because it's very meta and it's very of the time that this album was released in. The type of stuff that Marc Bolan and David Bowie were doing back in the day wouldn't turn any heads today but you have to think about just how close minded a lot of people would have had to have been back in the 70s. Not only to just be blatantly rejecting homosexuality but just the mere stage show that artists like Bolin and Bowie were putting together.&nbsp;\nSo, yes, this is one of many moments where David Bowie is just reflecting on the image of glam in the public's perception. David Bowie dives directly into the idea of rock stardom on the song “Star”, which I guess in a way is still space themed since Star space, ha ha. But, lyrically David Bowie portrays a rock star as something to transform into, mutate into and it's not only something that he wants, it's like he needs it as well because by the end of the track he's telling us that he'd be able to sleep at night if he was a rock and roll star. He'd be able to fall in love if he was a rock-and-roll star\n&nbsp;The song “Hang On To Yourself” isn't one of the more lyrically intriguing moments, although we do get a direct reference to the spiders from Mars on this track, which is Ziggy Stardust’s backing band. Which he addresses directly on the very next track. But this song is pretty awesome because it features these punky guitar riffs that feel like the something that would have come off of, like, a New York Dolls record. So, while Bowie was an artist who very blatantly borrowed from a lot of his contemporaries, he was also an artist who, in a lot of respects, was ahead of the curve.\nNow, Ziggy Stardust’s song isn't really this heroic entry in any sort of way. In this track Bowie explores fame even deeper and, in a way, the fame that Ziggy Stardust has received due to just being so great on guitar and being a great musician has kind of poisoned him. Because by the end of the cut he's sucked up into his own ego and the band ends up having to be broken up because, as David Bowie sings in the song, he's taking it too far which eventually leads us to his, uh, I guess in a sense his rock-and-roll suicide that ends the album off.\nBecause, even though David Bowie has portrayed stardom and fame as this wonderful beautiful thing for much of this record, something that he very much wants and very much needs, the star that has risen on the album now needs to fall because on this record this song is essentially the curtain closing on Ziggy.&nbsp;\nAnd it is a very epic curtain close as it really feels like, on this cut, that just the spotlight is on the character that Bowie is playing. You know, Bowie is one of those artists who, one of the earliest examples I could think of who, in his music, when he’s singing, it really feels like I'm listening to a stage show. It feels like I'm listening to a singer just on a hot spotlight and he's delivering not only just great singing and great lyrics but also a performance on a theatrical level. And sure there have been many artists who have played characters in their songs over the years and have told great stories in their songs over the years. But I feel like Bowie, more than any of those other artists who came before him, embodied this sense of drama and theater in his music, like, to the extreme, especially at the end of this track is. He's just shouting “give me your hands give me a hand” and just before a big rush of instrumentation –“oh no you're not alone”! A really beautiful and dramatic finish to this beautiful and dramatic and very meta and self-referencing album. An album that when you really get into the lyrics, again, David Bowie makes some interesting statements on the artistic and the musical politics of the time; in relation to glam rock and, in a way, art and public image and sexuality, too.\nAll these things, I think, continue to make Ziggy Stardust an interesting and relevant and an influential record. Sure, the music is fantastic. I mean, it's beautiful, gorgeous rock music with, again, that extra instrumentation, which is added into it so tastefully, doesn't take away from the visceral and the excitement of the bass instrumentation, of the bass guitar, of the guitars and the drums and the vocals and then, on top of that, many of the statements on Fame, which I think are very relevant on this record, to the themes that have not only been explored again and again and again by countless rock stars, such as Marilyn Manson, but also many rappers today are now going through a very similar meta cycle where a lot of rap albums from artists like Kanye West and Drake and Kendrick Lamar where they're essentially rapping about their own fame. But also about how it's not really all it's cracked up to be.\nBut what's funny is that some of these statements are put so subtly or at least they're buried in hooks and choruses and instrumentation that are so beautiful. Unless you were really looking for David Bowie to be saying these things you might sort of miss it. Which is why I urge people who may even be, you know, familiar with this album instrumentally and really love the sound of this record - next time you're listening to it dive a little bit further into what David Bowie is saying and think about the time in history in which he is saying and I think I'm gonna leave this album review right there.&nbsp;\nYes, a lot of cool contextual things about this album that I feel like we addressed here; cool narrative, awesome lyrical concepts and above all wonderful music. Wonderful rock music. Wonderful instrumentation. And I hope you give this record a shot if you haven't listened to it.&nbsp;\nRest in peace, David Bowie! &nbsp;&nbsp;\nVs &nbsp;\nRolling Stone Magazine - Album Review, July 20, 1972\nThe Rise and Fall of Ziggy Stardust and the Spiders from Mar\n&nbsp;https://www.rollingstone.com/music/music-album-reviews/the-rise-fall-of-ziggy-stardust-and-the-spiders-from-mars-95636/ &nbsp;&nbsp;&nbsp;\n</html>",
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lightningbowltupvoted (100.00%) @lightningbowlt / jonbrewertalkingaboutbesidebowiethemickronsonstory-bl80pulsd0

2019/02/26 23:11:57 UTC

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allazsent 0.001 STEEM to @lightningbowlt- "Promote your post. Your post will be min. 10 resteemed with over 13000 followers and min. 25 Upvote Different account. Your post will be more popular and you will find new friends. Send 0.5 SBD or ..."

2019/02/26 22:56:54 UTC

30,698,043|db3b83c

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lightningbowltupdated options for jonbrewertalkingaboutbesidebowiethemickronsonstory-bl80pulsd0

2019/02/26 22:56:06 UTC

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lightningbowltpublished a new post: jonbrewertalkingaboutbesidebowiethemickronsonstory-bl80pulsd0

2019/02/26 22:56:06 UTC

30,698,027|c76ad64

parent author
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author	lightningbowlt
permlink	jonbrewertalkingaboutbesidebowiethemickronsonstory-bl80pulsd0
title	Jon Brewer talking about Beside Bowie: The Mick Ronson Story
body	<p><img src='https://i.ytimg.com/vi/zx--Sw8UWMc/hqdefault.jpg'><br/></p><em>Even though David Bowie died early last year, of course his legend lives on with his music. One story that you might not be so familiar with is that of Mick Ronson. Now Mick Ronson worked on many of Bowie's greatest albums. David Bowie loved him so much that he narrated a documentary about him before he died. Produced by a former manager of Ziggy Stardust and the spiders from Mars the director Jon Brewer is here with us this morning Merry morning, John!</em> <strong>Jon Brewer:</strong> Morning <em>We're going to give you a little sample of the documentary first and we’ll chat after. </em> <strong><em>David Bowie Narrating</em></strong><em>:</em> he was actually brilliant at divining what I meant when I would describe him words what I wanted as the shape of the solo in certain songs. The one on time is a perfect example, for instanc. One thing he adored doing while recording was building up layered tracks so that there would be a great wedge of sound in certain areas of songs and from there he could fly off into his sinewy lines and riffs in a heartbeat. <em>Now, Jon, the first thing people will hear, watching that of course, that is David Bowie’s own voice yes and he's done parts of the voice-over for the documentary. </em> <strong>Jon Brewer:</strong> Yes he did the whole voice-over of the- and he set it up in a rather uncanny way because he gave me the chapters, really, and it was his sort of gift to the documentary before he died. And, you know, it wasn't just before he died it was some time before he died but the thing was that, of course, nobody really knew what was happening and it, uh, he sent it out just as I made the film really. <em> And the you introduced us, okay ,a lot of people- I'd never heard of Mick Ronson before. Many people possibly who know more about Mick Ronson- but just give us a snapshot of who Mick was.</em> <strong>Jon Brewer:</strong> Mick was probably one of the greatest ranges of our time and he was- Morrissey quoted the other day saying he was the engines for Bowie he created this wonderful folk singer-songwriter into a great rocker roller and went on to do Lou Reed and went on to do Morrissey and others you know, other artists. But, you know, at the beginning he was a humble gardener for the hull County Council and became a guitarist- he'd been trained musically at school and he then developed to become, certainly, the most incredible credible arranger and artist. <em>Now you mentioned a bit, because the detail in these stories is so fascinating! I love hearing when people get their first break and you mention that he was a gardener, Mick was a gardener up in Hull and there's a story about when they first went up to try and find him - so people knew how good he was with his guitar they went up to find him and he wa, he was doing white lines on it on a rugby pitch and-</em> <strong>Jon Brewer:</strong> David Bowie had been introduced to him by his drummer that he was playing with in a band called the rats and he said you've got to hear this guy David and David actually drove up with Angie and went to meet his mom and next thing he was- few weeks later he was down on top of the pops and he'd been sort of recording with David and then of course the big break came in in America and that's all benefited from story but the thing was Mick Ronson was definitely responsible for all that big push. <em> I think anyone who's watched the documentary film will see- we've been we've been privy to it, so, and managed to enjoy it- we'll see there are lots of interesting stories with just how the pop world or the music world came, became with someone who just had no idea about it from the size of David Bowie's house that they were living in when they were young - working with Lou Reed who he wasn't too impressed with in the first session. Just how the music industry was- just became part of his life and he became something fantastically-</em> <strong>Jon Brewer:</strong> well that was early times of course because you know we were breaking ground then and we just we just went with the flow and did the best that we possibly could. I mean, you know, he said that you could put his whole house in- size of his house that David had renting for 7 pound a week or whatever it was. Extraordinary! But I made this film not only for Mick’s legacy because- and after the premiere at the Mayfair Theater, people were just going I’m so glad we've- you've done this and I- but I did it for David, as well, because it was a big struggle there- David didn't know quite how to cope with letting everybody know how responsible Mick Ronson was and he just ran out of time. He was getting back with Bowie in the 90s, he just ran out of time- died in 92- the last- the concert, the memorial for Freddie Mercury was the wonderful, wonderful- he died a few days later. <em>Well it's a real insight into a person's life. As Charlie said, you know, you may not be familiar with you certainly would be after this. Thank you so much for talking to us.</em> <strong>Jon Brewer:</strong> Great! I hope, I hope everybody enjoys the film! <em>This documentary is called: Beside Bowie: The Mick Ronson Story </em><br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : http://lightningbowlt.com/jon-brewer-talking-about-beside-bowie-the-mick-ronson-story/</em><hr/></center>
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      "body": "<p><img src='https://i.ytimg.com/vi/zx--Sw8UWMc/hqdefault.jpg'><br/></p><em>Even though David Bowie died early last year, of course his legend lives on with his music. One story that you might not be so familiar with is that of Mick Ronson. Now Mick Ronson worked on many of Bowie's greatest albums. David Bowie loved him so much that he narrated a documentary about him before he died. Produced by a former manager of Ziggy Stardust and the spiders from Mars the director Jon Brewer is here with us this morning Merry morning, John!</em>\r\n\r\n<strong>Jon Brewer:</strong> Morning\r\n\r\n<em>We're going to give you a little sample of the documentary first and we’ll chat after. </em>\r\n\r\n<strong><em>David Bowie Narrating</em></strong><em>:</em> he was actually brilliant at divining what I meant when I would describe him words what I wanted as the shape of the solo in certain songs. The one on time is a perfect example, for instanc. One thing he adored doing while recording was building up layered tracks so that there would be a great wedge of sound in certain areas of songs and from there he could fly off into his sinewy lines and riffs in a heartbeat.\r\n\r\n<em>Now, Jon, the first thing people will hear, watching that of course, that is David Bowie’s own voice yes and  he's done parts of the voice-over for the documentary. </em>\r\n\r\n<strong>Jon Brewer:</strong> Yes he did the whole voice-over of the- and he set it up in a rather uncanny way because he  gave me the chapters, really, and it was his sort of gift to the documentary before he died. And, you know, it wasn't just before he died it was some time before he died but the thing was that, of course, nobody really knew what was happening and it, uh, he sent it out just as I made the film really.\r\n\r\n<em> And the you introduced us, okay ,a lot of people- I'd never heard of Mick Ronson before. Many people possibly who know more about Mick Ronson- but just give us a snapshot of who Mick was.</em>\r\n\r\n<strong>Jon Brewer:</strong>  Mick was probably one of the greatest ranges of our time and he was-  Morrissey quoted the other day saying he was the engines for Bowie he created this wonderful folk singer-songwriter into a great rocker roller and went on to do Lou Reed and went on to do Morrissey and others you know, other artists. But, you know, at the beginning he was a humble gardener for the hull County Council and became a guitarist- he'd been trained musically at school and he then developed to become, certainly, the most incredible credible arranger and artist.\r\n\r\n<em>Now you mentioned a bit, because the detail in these stories is so fascinating! 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Just how the music industry was- just became part of his life and he became something fantastically-</em>\r\n\r\n<strong>Jon Brewer:</strong> well that was early times of course because you know we were breaking ground then and we just we just went with the flow and did the best that we possibly could. I mean, you know, he said that you could put his whole house in- size of his house that David had renting for 7 pound a week or whatever it was. Extraordinary!  But I made this film not only for Mick’s legacy because- and after the premiere at the Mayfair Theater, people were just going I’m so glad we've- you've done this and I- but I did it for David,  as well, because it was a big struggle there- David didn't know quite how to cope with letting everybody know how responsible Mick Ronson was and he just ran out of time. 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lightningbowltupvoted (100.00%) @lightningbowlt / thesound-mickronson-0qj1t1rwag

2019/02/26 21:30:42 UTC

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garrettwallaceupvoted (1.00%) @lightningbowlt / thesound-mickronson-0qj1t1rwag

2019/02/26 21:19:42 UTC

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garrettwallaceupvoted (1.00%) @lightningbowlt / the-take-off-and-landing-of-ziggy-stardust

2019/02/26 21:19:27 UTC

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garrettwallaceupvoted (1.00%) @lightningbowlt / the-rise-and-fall-of-david-bowie

2019/02/26 21:18:21 UTC

30,696,074|d228b5a

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garrettwallacereplied to @lightningbowlt / re-lightningbowlt-the-rise-and-fall-of-david-bowie-20190226t211815907z

2019/02/26 21:18:15 UTC

30,696,072|03ca0d5

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lightningbowltupdated options for thesound-mickronson-0qj1t1rwag

2019/02/26 21:15:09 UTC

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lightningbowltpublished a new post: thesound-mickronson-0qj1t1rwag

2019/02/26 21:15:09 UTC

30,696,010|d0a310a

parent author
parent permlink	bowie
author	lightningbowlt
permlink	thesound-mickronson-0qj1t1rwag
title	The Sound - Mick Ronson
body	<p><img src='https://i.ytimg.com/vi/gYL-WRqBehs/hqdefault.jpg'><br/></p><em>From an interview with Mick Ronson inside the Hammersmith Odeon, October 20, 1992, six months before his death.</em> <strong> </strong> <strong>Okay, maybe, if you could just tell us about how you developed that very distinctive guitar sound that dominated those records?</strong>   The guitar sound... a lot of the guitar sound that's on the records, was, you see here I have a Telecaster and a lot of it was played, most of it was played with a Les Paul. In fact, all of it was played with a Les Paul. And uh, and then it has to get this sort of honking sound -this doesn't work right now otherwise I'll be able to show you how it works but I used a crybaby wah-wah pedal and I used to press the wah pedal on and just set it, set it on a- on a tone and just leave it, just leave it like that. I used to get this great- this kind of honking tone out of it, out of the amp but it was very middle, very middle sound, so that was how a lot of that came about. The guitar sound and the rest of it was basically just plugging in and you just plug the guitar in and turn it up and off we went. You know, like things like Jean Genie I think it starts- Jean Genie, I remember, we recorded Jean Genie in Nashville Tennessee. We only had these little tiny-we had these little Tiny amps, that's all we had with us, it was like little practice amps. You know, we kind of just went in and plugged in and turned it up and off we went. Then we recorded Jean Genie in two takes, you know? We kind of did it once, messed up, from then we just did it again. We never played the song before. Uh, and that was basically it. I mean, you plug it in and you turn it up and away you went. The classic Jean Genie riff comes from basically Muddy Waters and a man named John Lee Hooker. <em>(Plays the riff) </em>It's very simple, very simply done. I can't help but get a decent sound when you turn it up full. But I never went through a lot of pedals and things, you know. you just kind of basically plugged into the amp and turn this thing up.   <strong>What about other songs, you know, say, like Ziggy, you know, I mean, just, could you take it through that, play a bit of that? Maybe just play a couple more chords actually as well?</strong>   I'll try and play through it. It's pretty cold in here. I'm sitting in there I'm a Smith or D in here hands It's the end of October and it's pretty cold, pretty cold outside, it's pretty cold in here, too. My hands are pretty cold. But, the Ziggy Stardust riff, it's the same thing, you know, there's just a- you're plugged in and turned the amp up...<em> (Plays the opening of Ziggy Stardust)</em> It's very difficult to actually explain all that here, you know, we've got a got a little amplifier on the side here and I've got a lot of distortion on it and not really the kind of thing I used to use. But I think more important than the sound, I mean, I think a lot of it is in the way in one actually plays to it's a lot of its in the fingers rather than you saying it's that particular amp or that particularly guitar, you know. I think it's kind of like my, it's something that you would say is a recognizable style approach to play, you know, and the equipment helps a little bit and I think more often than not it's in, it's in your own personality. It's in your own makeup. It's in your own fingers, you know.   <strong>Well, what do you think you're expressing of yourself through that, you know, as you say, through your fingers and your playing?</strong> I don't know. It depends what it is that- depends on what you feel at the time. And it depends when you're playing and it depends on- depends are you failing? You feel different things different times when you're playing, you know? I mean I think I used to get rid of a lot of anger and, maybe, frustration you know like a- by playing loud and heavy. Kind of relieved a lot of tension maybe, you know. And that goes again with saying like, you know, when you're on stage playing it's almost you become a different person, you know, you're allowed to do those things, you know, quite normally and you feel quite normal doing it, too. It's not something you would walk around, you know, it's two o'clock in the afternoon showing that kind of emotion or something, you know. <strong>What, what did you enjoy playing, what gave you that relief?</strong> Can I have a sip of my tea? <em> ( Sips his tea then Launches into Hang on to Yourself and plays until the progression repeats itself)</em> yes uh well that's like hang on to yourself and I'm- pretty much that was strap the guitar on and smash it to death basically, um, but that was good. I mean it, you know, a lot of, a lot of the songs had a good sort of melodic content. Even just chords, you know, just playing the chords out came some sort of melody to it. …One of the other favorite ones was moonage daydream that was also kind of a pretty good one to do. I can't sing it, but I can play and it started off like (Plays the first chord and speaks) I'm an alligator (then plays on) Oh I forget how it goes but I mean that's basically, that's somewhat how it went. <strong>Thanks!</strong>  <br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : http://lightningbowlt.com/the-sound-mick-ronson/</em><hr/></center>
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      "body": "<p><img src='https://i.ytimg.com/vi/gYL-WRqBehs/hqdefault.jpg'><br/></p><em>From an interview with Mick Ronson inside the Hammersmith Odeon, October 20, 1992, six months before his death.</em>\r\n\r\n<strong> </strong>\r\n\r\n<strong>Okay, maybe, if you could just tell us about how you developed that very distinctive guitar sound that dominated those records?</strong>\r\n\r\n&nbsp;\r\n\r\nThe guitar sound...  a lot of the guitar sound that's on the records, was, you see here I have a Telecaster and a lot of it was played, most of it was played with a Les Paul. In fact, all of it was played with a Les Paul. And uh, and then it has to get this sort of honking sound  -this doesn't work right now otherwise I'll be able to show you how it works but I used a crybaby wah-wah pedal and I used to press the wah pedal on and just set it, set it on a- on a tone and just leave it, just leave it like that. I used to get this great- this kind of honking tone out of it, out of the amp but it was very middle, very middle sound, so that was how a lot of that came about. The guitar sound and the rest of it was basically just plugging in and you just plug the guitar in and turn it up and off we went. You know, like things like Jean Genie I think it starts- Jean Genie, I remember, we recorded Jean Genie in Nashville Tennessee. We only had these little tiny-we had these little Tiny amps, that's all we had with us, it was like little practice amps. You know, we kind of just went in and plugged in and turned it up and off we went. Then we recorded Jean Genie in two takes, you know? We kind of did it once, messed up, from then we just did it again. We never played the song before. Uh, and that was basically it. I mean, you plug it in and you turn it up and away you went. The classic Jean Genie riff comes from basically Muddy Waters and a man named John Lee Hooker.  <em>(Plays the riff)  </em>It's very simple, very simply done. I can't help but get a decent sound when you turn it up full. But I never went through a lot of pedals and things, you know. you just kind of basically plugged into the amp and turn this thing up.\r\n\r\n&nbsp;\r\n\r\n<strong>What about other songs, you know, say, like Ziggy, you know, I mean, just, could you take it through that, play a bit of that? Maybe just play a couple more chords actually as well?</strong>\r\n\r\n&nbsp;\r\n\r\nI'll try and play through it. It's pretty cold in here. I'm sitting in there I'm a Smith or D in here hands It's the end of October and it's pretty cold, pretty cold outside, it's pretty cold in here, too.  My hands are pretty cold. But, the Ziggy Stardust riff, it's the same thing, you know, there's just a-  you're plugged in and turned the amp up...<em> (Plays the opening of Ziggy Stardust)</em> It's very difficult to actually explain all that here, you know, we've got a got a little amplifier on the side here and I've got a lot of distortion on it and not really the kind of thing I used to use. But I think more important than the sound, I mean, I think a lot of it is in the way in one actually plays to it's a lot of its in the fingers rather than you saying it's that particular amp or that particularly guitar, you know. I think it's kind of like my, it's something that you would say is a recognizable style approach to play, you know, and the equipment helps a little bit and I think more often than not it's in, it's in your own personality. It's in your own makeup. It's in your own fingers, you know.\r\n\r\n&nbsp;\r\n\r\n<strong>Well, what do you think you're expressing of yourself through that, you know, as you say, through your fingers and your playing?</strong>\r\n\r\nI don't know. It depends what it is that- depends on what you feel at the time. And it depends when you're playing and it depends on- depends are you failing? You feel different things different times when you're playing, you know? I mean I think I used to get rid of a lot of anger and, maybe, frustration you know like a-  by playing loud and heavy. Kind of relieved a lot of tension maybe, you know. And that goes again with saying like, you know, when you're on stage playing it's almost you become a different person, you know, you're allowed to do those things, you know, quite normally and you feel quite normal doing it, too. It's not something you would walk around, you know, it's two o'clock in the afternoon showing that kind of emotion or something, you know.\r\n\r\n<strong>What, what did you enjoy playing, what gave you that relief?</strong>\r\n\r\nCan I have a sip of my tea? <em> ( Sips his tea then Launches into Hang on to Yourself and plays until the progression repeats itself)</em> yes uh well that's like hang on to yourself and I'm- pretty much that was strap the guitar on and smash it to death basically, um, but that was good. I mean it, you know, a lot of, a lot of the songs had a good sort of melodic content. Even just chords, you know, just playing the chords out came some sort of melody to it.  …One of the other favorite ones was moonage daydream that was also kind of a pretty good one to do. I can't sing it, but I can play and it started off like (Plays the first chord and speaks) I'm an alligator (then plays on)  Oh I forget how it goes but I mean that's basically, that's somewhat how it went.\r\n\r\n<strong>Thanks!</strong>\r\n\r\n&nbsp;<br /><center><hr/><em>Posted from my blog with <a href='https://wordpress.org/plugins/steempress/'>SteemPress</a> : http://lightningbowlt.com/the-sound-mick-ronson/</em><hr/></center>",
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lightningbowltpublished a new post: the-take-off-and-landing-of-ziggy-stardust

2019/02/26 12:47:36 UTC

30,685,866|a2350c5

parent author
parent permlink	bowie
author	lightningbowlt
permlink	the-take-off-and-landing-of-ziggy-stardust
title	The Take-Off and Landing of Ziggy Stardust
body	<html> <p><strong>The Take-Off</strong></p> <p>The date was July 6, 1972. The count down had begun the day before. No, not the last Apollo 17 mission to the moon. That would come, ironically, some six months later. But what was to become the launching of the Starman himself, David Bowie.  The song “Starman” had been released back in April in England but was going nowhere on the charts. The album “The Rise and Fall of Ziggy Stardust and the Spiders from Mars” had only been out for a month and had yet to be noticed. Three weeks earlier Bowie and the Spiders performed “Starman” on the appropriately titled ITV show <em>Lift Off with Ayshea. </em>But it proved to be a dry run. Then he landed a spot on <em>Tops of the Pops </em>and the musical reverberations of planet earth were about to be irrevocably altered. </p> <p>The video footage, actually shot the day before, opens with a tight shot on a blue 12 string acoustic guitar being strummed whimsically on ethereal chords. The camera zooms back revealing Bowie in his earliest rendition of his “Ziggy” persona, clad in a multi colored  jump suit, stitched by Sue Frost, seamstress for the band. His hair, a combination of possibilities taken from the pages of <em>Vogue</em>, is styled by Suzi Fussey, the future wife of Mick Ronson. Shorter than the later evolved look and convincingly dyed red so it looks somewhat natural. The flame red color would come later, to match his flame red, green mega laced boots.</p> <p> The music on tracks but the vocals live, Bowie steps up to the mic and begins to tell a story. Tight, compact, focused yet mysteriously foreboding, but absent of doom. Qualitatively reminiscent of science fiction writers of the day such as Ray Bradbury and Isaac Asimov.  And eerily foreshadowing films and stories yet to be made and told. </p> <p>A young man alone in his dimly lit bedroom kicks back to listen to a DJ playing rock’n’roll on the radio when the signal wavers and mysterious sounds are heard which he interprets to be “hazy cosmic jive”. With the chorus the story turns and the mystery is revealed: </p> <p>“There’s a starman waiting in the sky. He’d like to come and meet us but he thinks he’d blow our minds…”</p> <p> Bowie sings this, and continues through the resolution of the chorus, so fervently and with such emotional declaration as to suggest it might be he, himself, who has this relationship with the world. </p> <p> Displaying what might be the most perfect rock guitar sound relative to its concept ever derived, Mick Ronson decidedly lands the first note and skips down to the next. His brilliant sense of melody making every note count turns the simple riff along with Bowies chord changes to major into an electric joyous orchestra playing a piece about the four seasons and spring is in bloom.  </p> <p>Then came the defining moment. The turning point. What has now been cleverly coined as “The point of no return”.  Looking the camera dead in the eye, the chord drops back down to minor and Bowie sings: </p> <p>“I had to call someone so I picked on you, oo, oo…” Perfectly timed, he stops strumming and, extending his arm, points directly into the camera lens.</p> <p>While it seemed clear that Bowie’s master plan for Ziggy Stardust with stunning costume and cosmetic visuals might engage an audience, one problem Bowie seem to have was connecting with an audience. His recurring subject matter, that of a life overshadowed by an overwhelming sense of alienation made it difficult. This is an inherent flaw in the science fiction genre with its often dismally dystopic themes where not only all hope is lost but all emotion is lost. This can produce fascinating reading but making that emotional connection is the problem. You can corrupt emotion as in the classic <em>Wuthering Heights </em>and still make an emotional connection but depleted emotion equals disconnect. Countering this is Bowie’s emotionally dramatic, almost operatic style of singing. And his personalized story telling as in “Starman” where he plays the youth in the first person while in truth he is the starman. As a young teen and Bowie fan I took notice of certain repetitive references to youth such as “let all the children boogie” and “these children that you spit on as they try to change their worlds” that seem to be directed at me and almost anyone young in the world at that time. Instinctually he was reaching out to where he would expect to find his audience. But on this occasion Bowie overcomes all of the obstacles and paradox of alienation with just one gesture of a pointed finger and connects with his audience! Within days of Bowie’s appearance on <em>Top of the Pops</em> , it seems, as the story goes and legend would have it, every alienated misfit youth in England was dying their hair red and wearing make-up. Ziggy Stardust had blasted off! </p> <h4><strong>Ziggy Goes to America</strong></h4> <p>Whether he was inspired by the story of Ziggy or it just seemed like a good idea, Tony Fries, Bowie’s manager, had a plan. He would make David Bowie a famous rock star by acting and treating him like he was a famous rock star. And RCA would foot the bill.</p> <p> After a summer tour of the UK, a short tour of the US was planned to go off in late September. Bowie, though relatively unknown in the US, was to be the first British artist to come to America as a headliner since the Beatles, who until then, were the first and only. Originally to be eight concerts the tour would prove to be successful and was extended for eight weeks. </p> <p>Bowie, who hated to fly, left a week early with his wife, Angie, by boat. Arriving in New York City, they then took a charted Greyhound bus to Cleveland where the first US Ziggy concert takes place at Music Hall ending with a ten minute standing ovation. Next is Boston and then Carnegie Hall in New York City, where the marquee reads “Fall in Love with David Bowie”. While there he does an interview with Rolling Stone magazine and is featured in Time and Newsweek. And all along the way, though he has no money of his own in his pocket, he stays in the best hotels and is transported by limousines.   By late October he’s in Santa Monica playing the Civic Auditorium. The concert is recorded by RCA as well as broadcast live on FM radio which spawns the infamous bootleg of the concert. By the end of November he is introduced to the audience at a Mott the Hoople concert as a “man who is already a legend”. </p> <p>Shortly before the start of the tour, after a short audition which included a jazzy rendition of “Changes”, pianist Mike Garson was hired to fill in the sound. Seemingly an odd choice for a band based in rock. Albeit, with the help of Mick Ronson, the sound was quintessentially glam rock. But Garson’s Jazz training and era jumping capabilities proved to mix inspirationally with Ronson’s sense of dynamic arrangement and guitar style. The proof being in the pudding on the Ziggy follow-up album “Aladdin Sane.” </p> <p>Written during the tour, recorded partly in New York in early December after the last show, completed in early January in London and released in mid-April, 1973, the album pressings were considerably louder than “Ziggy Stardust”. The rock’n’Roll more manic and played with wild abandonment. “Jean Genie” was recorded in the middle of the tour and released as a single before rest of the album was recorded. The songs “Aladdin Sane”, “Time” and “Lady Grinning Soul” feature Garson’s piano expertise and the inner-weaving of Ronson’s guitar and the piano, especially on “Time” is truly inspired. The harder rock songs pay homage to the Rolling Stones, prompting some critics to call the album a sell-out.  </p> <p>But Ronson’s guitar playing has never sounded better and Bowie’s take on America provides the story content, producing lyrics of outrageousness and eclectic themes of “passionate bright young things” and “America in Flames” that are tied together by the central theme, A lad insane. Both appalled and captivated by American mixed culture, Bowie applies a bi-polar approach to the subject matter. His half-brother was an institutionalized schizophrenic at the time and this was always hovering over him and influencing his thoughts and moods. The whirlwind result was another collection of mind blowing songs based in an extravagant style of Rock laced with daring musical deviations that explode off the vinyl. The album cover with a lightning bolt painted across Bowie’s face is, perhaps, his most iconic image of the Ziggy period or any other, for that matter. </p> <p>The month before “Aladdin Sane” came out Bowie concluded his second US tour at the Hollywood Palladium. Having squeezed in some shows in England and Scotland in between the two American tours the next stop was Japan. Bowie takes in some traditional Japanese Kabuki Theater and spends time with Japanese fashion designer, Kansai Yamamoto, who presents him with nine Aladdin Sane Kabuki costumes that Bowie had commissioned from him when they first met in New York. Sometime during the Ziggy formation process Bowie had been introduced to Kabuki Theater. It was from there that he took the flaming red hair and pale white base with contrasting rouge makeup style. All along the way, it seems, Ziggy had been a work in progress, constantly evolving, eventually into the Aladdin Sane character with the lightning bolt being Bowie’s idea as a symbol of the duality of the mind. Yamamoto’s costumes were the latest integration into the Ziggy/Aladdin Sane character.</p> <p> <strong>The Landing</strong> </p> <p>Bowie and the Spiders did ten shows in two weeks in Japan then finally returned to England. Bowie by way of Moscow where he took the Orient Express to Paris and then by Ferry and Hovercraft arriving back in England on May 4, 1973. In less than a year he had achieved stardom in three major music markets. But there was a catch. It wasn’t clear who was more famous; Bowie or Ziggy. And this scared Bowie. He had “created a monster” and now he had to kill it. Besides, he didn’t want to do it anymore. The high decibel super charged hard rock sound of the band show after show left his ears ringing. He knew he could drag it out for quite a bit longer but ran the risk of becoming only Ziggy in the public’s eye and eventually disappearing into oblivion. It had to end. Ziggy, as prophesied  in the Ziggy Stardust finale “Rock’n’Roll Suicide”, had to die. </p> <p> But for the British fans Bowie was returning as a super star and they couldn’t get enough of him. Over the span of 45 days Bowie saturated the UK, playing in 37 towns and cities selling out at every venue. The final show of the Ziggy Stardust Tour was on July 3, 1973 at the Hammersmith Odeon, London. </p> <p>At the conclusion of the show the band returned to the stage. Poised to play the encore, Bowie steps up to the mic and makes this announcement:</p> <p> “Everybody… this has been one of the greatest tours of our lives. I would like to thank the band. I would like to thank our road crew. I would like to thank our lighting people. </p> <p> Of all of the shows on this tour, this particular show will remain with us the longest (<em>cheers from the audience</em>) because not only is it… not only is it the last show of the tour, but it’s the last show that we’ll ever do. Thank you” </p> <p>And with that, amidst a chorus of boos from the audience, Ziggy Stardust and the Spiders from Mars did indeed play the last song they would ever play together.</p> <p> The song, of course, was “Rock’n’Roll Suicide”.</p> </html>
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      "body": "<html>\n<p><strong>The Take-Off</strong></p>\n<p>The date was July 6, 1972. The count down had begun the day before. No, not the last Apollo 17 mission to the moon. That would come, ironically, some six months later. But what was to become the launching of the Starman himself, David Bowie. &nbsp;The song “Starman” had been released back in April in England but was going nowhere on the charts. The album “The Rise and Fall of Ziggy Stardust and the Spiders from Mars” had only been out for a month and had yet to be noticed. Three weeks earlier Bowie and the Spiders performed “Starman” on the appropriately titled ITV show <em>Lift Off with Ayshea. </em>But it proved to be a dry run. Then he landed a spot on <em>Tops of the Pops </em>and the musical reverberations of planet earth were about to be irrevocably altered.&nbsp;</p>\n<p>The video footage, actually shot the day before, opens with a tight shot on a blue 12 string acoustic guitar being strummed whimsically on ethereal chords. The camera zooms back revealing Bowie in his earliest rendition of his “Ziggy” persona, clad in a multi colored &nbsp;jump suit, stitched by Sue Frost, seamstress for the band. His hair, a combination of possibilities taken from the pages of <em>Vogue</em>, is styled by Suzi Fussey, the future wife of Mick Ronson. Shorter than the later evolved look and convincingly dyed red so it looks somewhat natural. The flame red color would come later, to match his flame red, green mega laced boots.</p>\n<p>&nbsp;The music on tracks but the vocals live, Bowie steps up to the mic and begins to tell a story. Tight, compact, focused yet mysteriously foreboding, but absent of doom. Qualitatively reminiscent of science fiction writers of the day such as Ray Bradbury and Isaac Asimov. &nbsp;And eerily foreshadowing films and stories yet to be made and told.&nbsp;</p>\n<p>A young man alone in his dimly lit bedroom kicks back to listen to a DJ playing rock’n’roll on the radio when the signal wavers and mysterious sounds are heard which he interprets to be “hazy cosmic jive”. With the chorus the story turns and the mystery is revealed:&nbsp;</p>\n<p>“There’s a starman waiting in the sky. He’d like to come and meet us but he thinks he’d blow our minds…”</p>\n<p>&nbsp;Bowie sings this, and continues through the resolution of the chorus, so fervently and with such emotional declaration as to suggest it might be he, himself, who has this relationship with the world.&nbsp;</p>\n<p>&nbsp;Displaying what might be the most perfect rock guitar sound relative to its concept ever derived, Mick Ronson decidedly lands the first note and skips down to the next. His brilliant sense of melody making every note count turns the simple riff along with Bowies chord changes to major into an electric joyous orchestra playing a piece about the four seasons and spring is in bloom. &nbsp;</p>\n<p>Then came the defining moment. The turning point. What has now been cleverly coined as “The point of no return”. &nbsp;Looking the camera dead in the eye, the chord drops back down to minor and Bowie sings:&nbsp;</p>\n<p>“I had to call someone so I picked on you, oo, oo…” Perfectly timed, he stops strumming and, extending his arm, points directly into the camera lens.</p>\n<p>While it seemed clear that Bowie’s master plan for Ziggy Stardust with stunning costume and cosmetic visuals might engage an audience, one problem Bowie seem to have was connecting with an audience. His recurring subject matter, that of a life overshadowed by an overwhelming sense of alienation made it difficult. This is an inherent flaw in the science fiction genre with its often dismally dystopic themes where not only all hope is lost but all emotion is lost. This can produce fascinating reading but making that emotional connection is the problem. You can corrupt emotion as in the classic <em>Wuthering Heights </em>and still make an emotional connection but depleted emotion equals disconnect. Countering this is Bowie’s emotionally dramatic, almost operatic style of singing. And his personalized story telling as in “Starman” where he plays the youth in the first person while in truth he is the starman. As a young teen and Bowie fan I took notice of certain repetitive references to youth such as “let all the children boogie” and “these children that you spit on as they try to change their worlds” that seem to be directed at me and almost anyone young in the world at that time. Instinctually he was reaching out to where he would expect to find his audience. But on this occasion Bowie overcomes all of the obstacles and paradox of alienation with just one gesture of a pointed finger and connects with his audience! Within days of Bowie’s appearance on <em>Top of the Pops</em> , it seems, as the story goes and legend would have it, every alienated misfit youth in England was dying their hair red and wearing make-up. Ziggy Stardust had blasted off!&nbsp;</p>\n<h4><strong>Ziggy Goes to America</strong></h4>\n<p>Whether he was inspired by the story of Ziggy or it just seemed like a good idea, Tony Fries, Bowie’s manager, had a plan. He would make David Bowie a famous rock star by acting and treating him like he was a famous rock star. And RCA would foot the bill.</p>\n<p>&nbsp;After a summer tour of the UK, a short tour of the US was planned to go off in late September. Bowie, though relatively unknown in the US, was to be the first British artist to come to America as a headliner since the Beatles, who until then, were the first and only. Originally to be eight concerts the tour would prove to be successful and was extended for eight weeks.&nbsp;</p>\n<p>Bowie, who hated to fly, left a week early with his wife, Angie, by boat. Arriving in New York City, they then took a charted Greyhound bus to Cleveland where the first US Ziggy concert takes place at Music Hall ending with a ten minute standing ovation. Next is Boston and then Carnegie Hall in New York City, where the marquee reads “Fall in Love with David Bowie”. While there he does an interview with Rolling Stone magazine and is featured in Time and Newsweek. And all along the way, though he has no money of his own in his pocket, he stays in the best hotels and is transported by limousines. &nbsp;&nbsp;By late October he’s in Santa Monica playing the Civic Auditorium. The concert is recorded by RCA as well as broadcast live on FM radio which spawns the infamous bootleg of the concert. By the end of November he is introduced to the audience at a Mott the Hoople concert as a “man who is already a legend”.&nbsp;</p>\n<p>Shortly before the start of the tour, after a short audition which included a jazzy rendition of “Changes”, pianist Mike Garson was hired to fill in the sound. Seemingly an odd choice for a band based in rock. Albeit, with the help of Mick Ronson, the sound was quintessentially glam rock. But Garson’s Jazz training and era jumping capabilities proved to mix inspirationally with Ronson’s sense of dynamic arrangement and guitar style. The proof being in the pudding on the Ziggy follow-up album “Aladdin Sane.”&nbsp;</p>\n<p>Written during the tour, recorded partly in New York in early December after the last show, completed in early January in London and released in mid-April, 1973, the album pressings were considerably louder than “Ziggy Stardust”. The rock’n’Roll more manic and played with wild abandonment. “Jean Genie” was recorded in the middle of the tour and released as a single before rest of the album was recorded. The songs “Aladdin Sane”, “Time” and “Lady Grinning Soul” feature Garson’s piano expertise and the inner-weaving of Ronson’s guitar and the piano, especially on “Time” is truly inspired. The harder rock songs pay homage to the Rolling Stones, prompting some critics to call the album a sell-out. &nbsp;</p>\n<p>But Ronson’s guitar playing has never sounded better and Bowie’s take on America provides the story content, producing lyrics of outrageousness and eclectic themes of “passionate bright young things” and “America in Flames” that are tied together by the central theme, A lad insane. Both appalled and captivated by American mixed culture, Bowie applies a bi-polar approach to the subject matter. His half-brother was an institutionalized schizophrenic at the time and this was always hovering over him and influencing his thoughts and moods. The whirlwind result was another collection of mind blowing songs based in an extravagant style of Rock laced with daring musical deviations that explode off the vinyl. The album cover with a lightning bolt painted across Bowie’s face is, perhaps, his most iconic image of the Ziggy period or any other, for that matter.&nbsp;</p>\n<p>The month before “Aladdin Sane” came out Bowie concluded his second US tour at the Hollywood Palladium. Having squeezed in some shows in England and Scotland in between the two American tours the next stop was Japan. Bowie takes in some traditional Japanese Kabuki Theater and spends time with Japanese fashion designer, Kansai Yamamoto, who presents him with nine Aladdin Sane Kabuki costumes that Bowie had commissioned from him when they first met in New York. Sometime during the Ziggy formation process Bowie had been introduced to Kabuki Theater. It was from there that he took the flaming red hair and pale white base with contrasting rouge makeup style. All along the way, it seems, Ziggy had been a work in progress, constantly evolving, eventually into the Aladdin Sane character with the lightning bolt being Bowie’s idea as a symbol of the duality of the mind. Yamamoto’s costumes were the latest integration into the Ziggy/Aladdin Sane character.</p>\n<p>&nbsp;<strong>The Landing</strong>&nbsp;</p>\n<p>Bowie and the Spiders did ten shows in two weeks in Japan then finally returned to England. Bowie by way of Moscow where he took the Orient Express to Paris and then by Ferry and Hovercraft arriving back in England on May 4, 1973. In less than a year he had achieved stardom in three major music markets. But there was a catch. It wasn’t clear who was more famous; Bowie or Ziggy. And this scared Bowie. He had “created a monster” and now he had to kill it. Besides, he didn’t want to do it anymore. The high decibel super charged hard rock sound of the band show after show left his ears ringing. He knew he could drag it out for quite a bit longer but ran the risk of becoming only Ziggy in the public’s eye and eventually disappearing into oblivion. It had to end. Ziggy, as prophesied &nbsp;in the Ziggy Stardust finale “Rock’n’Roll Suicide”, had to die.&nbsp;</p>\n<p>&nbsp;But for the British fans Bowie was returning as a super star and they couldn’t get enough of him. Over the span of 45 days Bowie saturated the UK, playing in 37 towns and cities selling out at every venue. The final show of the Ziggy Stardust Tour was on July 3, 1973 at the Hammersmith Odeon, London.&nbsp;</p>\n<p>At the conclusion of the show the band returned to the stage. Poised to play the encore, Bowie steps up to the mic and makes this announcement:</p>\n<p>&nbsp;“Everybody… this has been one of the greatest tours of our lives. I would like to thank the band. I would like to thank our road crew. I would like to thank our lighting people.&nbsp;</p>\n<p>&nbsp;Of all of the shows on this tour, this particular show will remain with us the longest (<em>cheers from the audience</em>) because not only is it… not only is it the last show of the tour, but it’s the last show that we’ll ever do. Thank you”&nbsp;</p>\n<p>And with that, amidst a chorus of boos from the audience, Ziggy Stardust and the Spiders from Mars did indeed play the last song they would ever play together.</p>\n<p>&nbsp;The song, of course, was “Rock’n’Roll Suicide”.</p>\n</html>",
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steemdelegated 18.480 SP to @lightningbowlt

2019/02/24 13:02:27 UTC

30,628,621|a2248ab

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lightningbowltupdated their account properties

2019/02/24 12:43:06 UTC

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lightningbowltupdated their account properties

2019/02/24 12:40:06 UTC

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markitoeliasupvoted (100.00%) @lightningbowlt / the-rise-and-fall-of-david-bowie

2019/02/24 12:30:21 UTC

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lightningbowltfollowed @raise-me-up

2019/02/24 12:27:27 UTC

30,627,922|72bd160

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lightningbowltpublished a new post: the-rise-and-fall-of-david-bowie

2019/02/24 12:26:24 UTC

30,627,901|548de31

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author	lightningbowlt
permlink	the-rise-and-fall-of-david-bowie
title	The Rise and Fall of David Bowie
body	<html> <p>David Bowie has taken many extraordinary paths in his life and career almost non of which were the beaten ones. Though some, where he laid down early footprints, were later well traveled by those who followed in his. His influence on popular music over the last 50 years has been tremendous and was both immediate and protracted. </p> <p>Elton John enlisted Bowie’s “<strong>Space Oddity</strong>” producer, Gus Dudgeon, and co-penned with Bernie Taupin “<strong>Rocket Man</strong>” before Bowie was even famous. You can literally sing the lyrics of “<strong>Rocket Man</strong>” to the chords and melody of “<strong>Space Oddity</strong>“.  After Ziggy Stardust arrived on the planet Elton wasted no time in his transformation from hippy denim to oversized decorous sunglasses and wearing turkey and duck costumes on stage. It was random, over the top and utterly tasteless but it worked for him.</p> <p>Boy George, over a decade later, was more faithful in his attire to the iconic “Ziggy”, though a flower child like rendition of the character. Unlike Bowie, neither George or Elton were blessed with rock star looks and, ironically, used the device of character dress and make-up to not only garner attention but to make themselves more attractive to the audience (or, at least, to mask their unattractiveness), while Bowie’s intention was consistently to tell a story of alienation. All three, however, were clearly more comfortable performing under the guise of playing a character onstage than presenting their unvarnished selves.</p> <p>The 1980s brought an explosion in the use of electronic instruments which Bowie experimented with and pioneered in the late 70s on his Berlin trilogy albums. And Bowie, himself, participated in and benefitted from the this era of music that his influence and work had done so much to bring about. His collaboration with <strong>Queen</strong> at the start of the decade produced the time tested “<strong>Under Pressure</strong>” and his 1983 album “<strong>Let’s Dance</strong>” was his  best selling album up to that time. </p> <p>Bringing in the 90s with the hardcore band <strong>Tin Machine</strong> he continued exploring different and new forms of music and was firmly established as the avant-garde guru of music as art, working and performing with notable new comers such as <strong>Nine Inch Nails</strong>.</p> <p>With the dawn of the new millennium came two new albums, “<strong>Heathen</strong>” and “<strong>Reality</strong>“, both excellent efforts and, true to form, on the cutting edge, musically. But then, regrettably for the world, a lifetime of being a workaholic, chain smoker and drug abuser caught up with Bowie and he virtually disappeared from the music scene for almost a decade. </p> <p>With his mystique fueled by his absence,  his re-emergence in 2013 with the release of the album “<strong>The Next Day</strong>” found him elevated to the status of Rock God; known and followed  across the globe by teenagers, college students, gen Xers and baby boomers, alike. And his “<strong>Blackstar</strong>” album, released on his birthday in January, 2016, two days before his death, rocketed his fame and regard into parts unknown in this universe for a musical artist!</p> </html>
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steemdelegated 18.630 SP to @lightningbowlt

2019/02/24 11:08:18 UTC

30,626,340|5fa28b9

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steemcreated a new account: @lightningbowlt

2019/02/24 11:08:18 UTC

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Account Metadata

POSTING JSON METADATA
profile	{"cover_image":"https://cdn.steemitimages.com/DQmTC6wrdPVL3UvaG7P4fzHuuJibmV6hsDHBJ3LKNAahN3L/Aladinsane%20bolt%20crop-1-1-1-1-1%20crop%208.jpg","profile_image":"http://lightningbowlt.com/wp-content/uploads/2019/02/Aladinsane-bolt-crop-1-1-1-1-1-crop-8-1.jpg"}
JSON METADATA
profile	{"cover_image":"https://cdn.steemitimages.com/DQmTC6wrdPVL3UvaG7P4fzHuuJibmV6hsDHBJ3LKNAahN3L/Aladinsane%20bolt%20crop-1-1-1-1-1%20crop%208.jpg","profile_image":"http://lightningbowlt.com/wp-content/uploads/2019/02/Aladinsane-bolt-crop-1-1-1-1-1-crop-8-1.jpg"}

{
  "posting_json_metadata": {
    "profile": {
      "cover_image": "https://cdn.steemitimages.com/DQmTC6wrdPVL3UvaG7P4fzHuuJibmV6hsDHBJ3LKNAahN3L/Aladinsane%20bolt%20crop-1-1-1-1-1%20crop%208.jpg",
      "profile_image": "http://lightningbowlt.com/wp-content/uploads/2019/02/Aladinsane-bolt-crop-1-1-1-1-1-crop-8-1.jpg"
    }
  },
  "json_metadata": {
    "profile": {
      "cover_image": "https://cdn.steemitimages.com/DQmTC6wrdPVL3UvaG7P4fzHuuJibmV6hsDHBJ3LKNAahN3L/Aladinsane%20bolt%20crop-1-1-1-1-1%20crop%208.jpg",
      "profile_image": "http://lightningbowlt.com/wp-content/uploads/2019/02/Aladinsane-bolt-crop-1-1-1-1-1-crop-8-1.jpg"
    }
  }
}

Auth Keys

Owner

Single Signature

Public Keys

STM89K5W6GgPwc5rMPc5T7jiMjN7EcwRC8VY7nY619ETWBrzwQqL11/1

Active

Single Signature

Public Keys

STM58dqyeH4yuV5KGWbvsTbezu8T1WRKS27dDXRXFWeLCVm5BZzBh1/1

Posting

Single Signature

Public Keys

STM7FWWe3gUd3FVShDcpGb5M1JLVFKb9DKKZTHTKuHRhgGqe1fxxT1/1

Memo

STM8iLhXSr2pFFSmSgYxCaThuA6xiSKhPGGeLXNEUBkDqsGMUtbj4

{
  "owner": {
    "weight_threshold": 1,
    "account_auths": [],
    "key_auths": [
      [
        "STM89K5W6GgPwc5rMPc5T7jiMjN7EcwRC8VY7nY619ETWBrzwQqL1",
        1
      ]
    ]
  },
  "active": {
    "weight_threshold": 1,
    "account_auths": [],
    "key_auths": [
      [
        "STM58dqyeH4yuV5KGWbvsTbezu8T1WRKS27dDXRXFWeLCVm5BZzBh",
        1
      ]
    ]
  },
  "posting": {
    "weight_threshold": 1,
    "account_auths": [],
    "key_auths": [
      [
        "STM7FWWe3gUd3FVShDcpGb5M1JLVFKb9DKKZTHTKuHRhgGqe1fxxT",
        1
      ]
    ]
  },
  "memo": "STM8iLhXSr2pFFSmSgYxCaThuA6xiSKhPGGeLXNEUBkDqsGMUtbj4"
}

Witness Votes

0 / 30

No active witness votes.

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